Tuning an instrument sometimes challenges even the advanced musician -- obviously then, for for beginners, sometimes it's a real ordeal.

As a beginner, you've got a lot on your hands, and you certainly don't need any additional frustrations. So get an electronic tuner -- it'll help you turn up fast, so you focus on playing and practicing. If I've convinced you, skip over the next couple of paragraphs and consider the recommended models.

Don't bother with a pitch pipe. They are extremely unreliable. While music stores continue to sell them, the average pitch pipe is out of tune the moment it drops off the assembly line into it's package. Even if you happen to get a decent pitch pipe, it will probably go out of tune with normal use. This will definitely occur with misuse. Furthermore, even with a well tuned pitch pipe, the pitch will vary depending on how hard you blow. They are useful mainly in producing an approximate pitch to cue a vocal ensemble — or to roughly tune a single string.

Tuning forks are more reliable than pitch pipes, but they are rather tricky to use.in addition, they are fairly delicate — if dropped or struck against hard surfaces, a tuning fork can go out of tune. Like pitch pipes they only produce one tone. So unless your prepared to carry a pocket full tuning forks you'd better be prepared to tune the remaining strings by ear. For these reasons, plus several others, I strongly recommend an electronic tuner.

There are two basic types of tuners: Guitar tuners and Chromatic tuners.

A guitar tuner only hears the open strings of a (standard tuned) guitar: EADGBE.

Chromatic tuners are much more versatile -- they can hear any note, so they work for any instrument, any tuning. So get a chromatic tuner.

Electronic tunes dropped into the consumer price range in the mid '80s. At that time chromatic tuners were in the $70 to $130 range. Manufacturers courted more consumers by offering less features for a lower price: enter Guitar tuners priced at $40 to $80. But prices dropped again in the late '90s, and now many chromatic tuners cost only about $10 more than a guitar tuner. You'll find a few recommended models below, and some features to consider when purchasing. One anomaly I've never been able to reconcile is the Boss Tu-12H tuner — it's still big and clunky, and costs only about $20 less than its 1984 price tag!

A tuner's overall quality depends largely on its display. Some tuners use lights alone (LED) to indicate the pitch, which fail to give feedback as clearly. Look for a tuner with a VU-style needle display. A VU-needle style display is easier to read, and offers certain additional benefits, and most of these tuners have lights as well, which are indispensable when tuning in dim light -- very useful backstage!

There are various other features to consider, and I'll mention some of these in the reviews that follow.

This is a nice tuner. I like it better than the new CA-30! If you want a CA-20, you'll have to find one used.

The CA-20 It's small (fits in your shirt pocket), light weight, inexpensive, and runs on two AAA batteries. ( I never liked those clumsy 9 volt batteries.) Also the CA-20 has a VU style needle, which can significantly simplify the task of tuning. Some of the more expensive tuners produce tones for tuning by ear. The CA-20 does not.

Just a couple of complaints:


• Most electronic tuners offer a calibration feature. This allows you to make a small adjustment to the pitch of middle A and all other notes accordingly. Middle A is usually 440Hz, but with the calibration button you can set it from 430Hz to 449Hz. .

Like many tuners, the Korg CA-20 offers a calibration feature (explained below.) However, unlike most other tuners, the CA-20 remembers the calibration even after you turn it off! Other tuners reset themselves to A440 each time you turn them on, so you can reliably count on middle A set to 440Hz. The CA-20's calibration "memory" has led me haplessly astray more than once. If you inadvertently press the CA-20's calibration button (apparently this what I've done) the next time you use your tuner the pitch will be off from 440. Like me, you may not realize. So always look at the upper left corner before you tune, and check to see if the tuner is set to 440. (This is my main complaint about the newer CA-30 -- the on/off button is an 1/8 of an inch from the calaibration button, and many people accidentally press both buttons and callibrate the tuner when they turn it off.)

* Calibration allows the user to set A to a frequency other than 440Hz, usually within the range of 430 to 450Hz, adjusting all other notes respectively.

• The CA-20 has no "output" jack, making it a poor choice for stage use. Most performers like to leave their electric instruments plugged into their tuner, running another cable from the tuner's output jack to their amplifier. With this setup, they can use their tuner at any time. Playing "through" the tuner, they don't have to unplug their guitar from it's amplifier to use their tuner.

Pros:
     • VU-needle display

     • Small and light.
     • Uses AAA batteries

Cons:
     • "Remembers" calibration between uses.
     • No "output" jack.

* The Korg CA-30 replaces the CA-20. I don't recommend it. While it funtions the same as the CA-20, it also 'remembers' calibration after you turn it off — my main complaint about the CA-20. Worse, they moved the callibration button within a quarter of an inch of the power button, so it's easier than before to accidental recalibrate the tuner. Get a Seiko tuner instead.

QuikTune was the first company to produce good quality tuners in the $15 - $30 range. (Previously chromatic tuners cost between $70 and $110.) Sometimes the needle very stable response; other times it seems jumpy and temperamental. Unless you need an output jack, I'd recommend the Korg CA-20, for just a few dollars more. Still this tuner works well.

This is the only tuner I know of in its price range that will operate without batteries. Plug in an AC transformer and you'll inadvertently wear out another the battery. forget to turn the tuner off for a day and the battery is dead. (You'd think they'd make a tuner with "auto off" function, like some calculators or irons. Must be pressure from the battery cartel.) Anyway, if you use a tuner in a classroom situation, you'll really save on the battery budget with this tuner. One last point. Because much of the display is painted on, it's rather hard to tell if the tuner is on or off.

Pros:
     • VU-needle display
     • Resets to A440 when you turn it on.
     • Has an "output" jack.
     • Will operate with an AC transformer (no batteries required.)
Cons:
     • Sharp symbol is hard to see (not located near the letter).
     • Needle seems less stable — too much extra movement.
     • Slightly thicker and heavier than the Korg CA-20.
     • Hard to tell when it's on or off.
     • Uses a 9-volt battery.

There's always a few choices of transducers or "tuning" microphones on the market.

Tuner microphones simplify the task of tuning by eliminating extraneous sound. When you attach a microphone to your instrument and plug it into your tuner, the tuner can only hear your instrument. So you're free to talk while tuning — your voice, the sound other instruments, or background noise won't interfere.

Also, you'll probably find that your tuner gives a much more reliable reading with a "tuner mic. In other words, the needle won't jump around so much.

Here are a couple of "tuner" microphones that were available the last time I checked:


Petersom TP-1 Tuning Pick-Up (My favorite!) www.petersontuners.com
Matrix MPU-2
Iso-Clip 495A

There's a long list of cons for this tuner. Nevertheless it a favorite for many people. It works well, and for those who want their tuner in plain view (the performer's view, not the audience's), plus a built in tuner microphone, and hands-free operation, it's really pretty slick.

Pros:
     • Built-in contact microphone (Doesn't have or need an input jack.)
     • Conveniently attaches to the peghead (except violins)
     • Easy to read liquid crystal display, even in the dark.
     • Stable readings.
Cons:
     • Expensive
     • It rather easy to knock the tuner off your peghead.
     • No VU-style needle.
     • No "output" jack. (A jack wouldn't work for this type of tuner!)

Get a music stand. Your body will thank you!

Most people's first stand is a folding model. There are lots folding stands from which to choose. The quality is quite similar among different brands and models. Most are chrome-plated and cost about $20. But there are some design features to consider:

• When you lift the stand by the shelf, does the pedestal stay attached?
• Is the shelf angle adjustable?
• How tall and how short can you set it?

Most stores only carry one or two models, so you don't get to be real picky for $20.

Eventually, you may outgrow your folding stand. For instance, you need a studier stand that supports a heavy binder.

Hamilton, Manhasset ($20) These are the inexpensive, no frills, chrome style stands mentioned above. Under the weight of a heavy binder, they start to twist and sway. And a slight bump can topple an overloaded stand. They're built to hold a small book or folder. These two brands seem to be the most consistant, while other models change from year to year — even if the model number remains the same!

Konig Meyer (Usually referred to as K&M):

K&M 1006 — A really nice portable stand! (Street price $29 - $40)
K&M 10065 — more heavily built. (Street price $45 - $65)

The K&M 1006 and K&M 10065 are the best folding stands that I've used. Both are quite strong, almost as strong as an orchestra stand, and they offer an adjustable reading angle. And you can set them much lower than other stands! Guitarists and cellists often prefer a low stand, which helps with reading, if you wear bi-focal glasses, it preserves a clear line of sight so audiences can see the performer's instrument, it leaves room for microphone access.

NOTE: Regarding ease of use, although Konig Meyer provides instructions for collapsing the upper part of the stand, most people get confused when the stand binds into a steel knot as they try to reopen it.

I suggest a simpler approach to closing the upper part of the stand: Push the center of the diagonal brace inward and downward toward the pedestal. This will raise the outer edges of the "shelf" slightly. Then push the edges the rest of the way up until completely closed. That's it. To reopen the stand, just pull the edges of the shelf outward and downward.

The advantage of doing it Konig Meyers way? The fully collapsed stand is about an inch shorter. But take my word for it, once tangled you'll wonder if the stand will never work again! Fortunatley untangling it is slighlty less challenging than solving a Rubik's cube. I've never had an trouble since I began folding it as described.

Manhassett Accessory Shelf: This extraodinarily handy piece of plastic adds a shelf to any music stand, transforming a regular stand into a "top of the line" double-lip orchestra stand. Just slip it on. It's the ultimate in simplicity, a real convenience, and it keeps folding stands from folding accidentally. ($6)

Table Top Stands (Here's a great value! A music stand for the small budget):

Office supply stores carry wire frame "Study Stands" designed to hold books. These double nicely as a portable music stand, and only cost about $6. A good study stand will support a binder full of music. Place it on a table or desk and you've got an instant music stand. If prefer to stand while you practice, place the study stand on a dresser or counter top. NOTE: Turning pages can be cumbersome if the they're behind the front of the frame, so put them in front, with just the binder behind.

Some music stores carry "table top stands" but they usually cost more than a study stand, and rarely are they as sturdy.

Orchestra Stands:

Manhasset, Hamiltion ($50)

Guitarists use capoes mainly to easly change keys. A capo allows the guitarist to effortlessly change keys without transposing chords or changing fingerings. This trick alone is a huge benefit. And there are other uses too.

By lowering the action, and reducing the length you need to stretch, a capo adds "training wheels" to the guitar, allowing you to learn chords without encountering the full resistance of the strings or certain faults of the neck. This is especially helpful on inexpensive 'beginning' guitars, or guitars over due for a visit to the repair person. If the nut is too high or the neck is bowed, it is much harder to press the strings down. A capo can sometimes make a nearly unplayable guitar suitable for a beginner.

And there are interesting 'partial capo' techniques that are beyond the scope of this note.

Shubb Capoes

  C1 Capo — arched, for steel string guitars ($18.95) or CIB (brass)
  C2 Capo — flat and longer, for nylon string guitars ($18.95)
  C7B Partial Capo — for imitating open tunings. ($18.95)
  C5 Banjo Capo — handy for certain guitar partial capo positions.
  C4 Capo — more arched than the C1 capo ($18.95)    

All of these capoes are nickel plated, with a silver look, except the Partial Capo which is available only in brass at present. Are all Shubb capoes are available in brass — just add a "B" to the order number.

For more information, or to order,
click here —> The Shubb Company
or call The Shubb Company at 707-876-3001

My favorite is the Jim Dunlop Gel Picks. I especially like the X-H gauge Gel Picks (extra heavy). They have a really hard surface, which produces a crisp, clear sound, that's smooth, not brittle. And they stay smooth as they wear. Otherwise I can't really explain why I like these picks so much. The X-H picks are translucent yellow with a slight greenish cast.

The H gauge Gel Picks (heavy) are nice too. They produce the same sound but their slightly more flexible. The H picks are a deep burgundy color. The M gauge (medium) is a bit of a disappointment. It's pretty thin, too flexible for strong acoustic playing, and they make a snapping sound when you play hard, so I don't recommend them unless you're playing electric guitar. They're a translucent burgundy color.

My long time favorites before the Gels are the Tortex 500s, also by Dunlop. Don't confuse these with the original Dunlop Tortex picks which are still available. The original Totex picks wear quickly, leaving a rough and gritty playing surface which produces a scratchy tone, and some noticeable drag. So be sure to ask for 500's when ordering Tortex picks.

Gel Picks (by Dunlop X-L & H)

Tortex 500 (by Dunlop — be sure to ask for 500's!) (25¢)

Any brand — Medium or heavy (avoid nylon picks)

Wittner 1154M — Simulated Mahogany ($60 / $50)
Wittner 1154W — Simulated Walnut ($60 / $50)


These metronomes are traditional in design. No batteries required — it uses a wind up mechanism.

Wittner "Taktell" also known as "Super-Mini Taktell" ($44 / $30)

The Taktell metronome is a much smaller version of the Wittner metronomes listed above, small enough to fit in many cases. No batteries required — it uses a wind up mechanism.

Electronic Metronomes:

There are lots of electronic metronomes available. Most work well and many offer nice features like volume control and accent. I'd like recommend a few, but for what they offer most are too expensive ($60 - $120). I've only found one that I like. It's the Tama RW-100. I've reviewed it below, and mention some issues with electronic metronomes.

Tama RW-100. The Tama RW-100 metronome offers lots of control over meter, accent, and beat subdivisions. And it has a good, old-fashioned dial for setting the tempo! (This may not seem like a big deal — but turning a dial is far more convenient than pressing a button … up, up, up … or down, down, down.) And the RW-100 produces more volume than any metronome I've heard.

To add accents simply select a time signature. To add beat subdivisions, turn up one of the “subdivision” volume dials on the front panel. (These subdivisions are always there, silently cranking away in the background. Just turn up the ones you want to hear. Simple as that). Beyond these basics, there's a world of programming possibilities beneath the surface ... well, if you're willing descend into the world of the RW-100’s operating system.

Best of all, the TAMA RW-100 is much easier to listen to that the other electronic metronomes that I've used. I'll make a general point to explain why. There's a couple of basic problems with the present crop of electronic metronomes. First, the "click" itself is usually fairly unpleasant. On top of that (even with models that have a decent "click"), an unaccented click fatigues the ear in short order. It's an unpleasant experience. This is not due to the digitization of the sound. It's just that the ear quickly gets bored (shall I say iritated) with exact repetitions of any sound. Unfortunately most digital metronomes fail to vary the sound in any way. Practicing with a metronome presents enough challenges. An unpleasant unaccented "click " adds an element of "water torture" to the task.

The Tama RW-100 is a bit pricey. The list price is around $130. But I haven't seen another electronic metronome with a similar set of features for this price. And it's rare that you find such simple controls. I found only drawback. You'll hear a pretty awkward transition if you adjust the speed while the metronome is playing.

I look forward to better electronic metronomes in the near future. With better sound quality and extra features I expect they'll soon become the metronomes of choice. and let's look forward to a good quality software metronome.

(NOTE: There was a large collection of electronic metronomes in the Shar Spring/Summer Catalogue, page 54. You find Shar's website at: www.sharmusic.com .)

Viva (by Knilling) My current favorite. Adjustable, with a good comfortable shape. Goes on easily and won't abraid the sides or back of the violin. Comes in a range of sizes and colors.

Resonans: My old favorite. This shoulder rests come is three heights: Number 1, 2 & 3. Most people use a number 2, which is a medium height. The shortest is number 1. You'll probably need to bend the shoulder rest and shape it somewhat to get of good fit.

NOTE: There are four points where the rest attaches to the violin. The shoulder rest comes with thin rubber tubing over this points, to protect the violin from the metal of the shoulder rest. Unfortunately this tubing wears out quickly. Or it just slips off. In either case the violin is left without protection from the hard metal prongs. I recommend that you replace the tubing immediately with inch-long strips of surgical tubing. Use 3/8 inch diameter tubing. You can find surgical tubing at medical supply stores. The surgical tubing should last for a few years before it starts to deteriorate. NOTE: It's pretty difficult to slide dry tubing in place over the prongs. To ease the job, wet the prongs or the inside of the tubing before you attempt to slide the tubing on.

Here's an alternative fix which provides a nearly permanent solution. Coat the prongs with "tool dip." (You'll find "tool dip" at most hardware stores.) Just remove the original tubing, and dip the prongs into the goo. Be sure to coat the entire area that the tubing covered. Apply about three coats, allowing for drying time between coats.

Kun: If you need a shoulder rest for a half or quarter size violin, these are easy to find. For full size violins I recommend the Resonans rests. But Kun work great for many people.

NOTE: The Kun rests are adjustable in height and width. But the design is rather poor. They are not fully adjustable in width, but only in increments of approximately 1/4 inch — I can usually get a better fit just by bending a Resonans rest. Also the height control screws loosen over time. After this happens, an unintentional flick of the finger will set the prongs spinning several times round, leaving you will a new, random height setting. This is an unwelcome nuisance. Especially for kids. (You can alleviate this problem by unscrewing the prong, stuffing a tiny strip of adhesive tape around the threads, and screwing the prong back into place.) One last problem, the adjustment mechanisms are not very durable. And unfortunately, once they fail, the shoulder rest is only marginally repairable.


Build a better shoulder rest and the world will beat a path to your door!

Rosin

MiniDisc Recorders (See www.Minidisc.org)

I admit, I was skeptical. Quite skeptical! But now I'm a full-time Minidisc advocate.

Minidisc recorders are a remarkable tool for working, aspiring, and amateur musicians alike! Not to say that everyone else wouldn't enjoy them. It just that they are particularly popular amoung musicians, particuarly because they are so good at recording live music.

Minidisc players and Minidsc recorders have been available for over 15 years. They're quite popular in Europe and Japan, but they've been slow to catch on in the U.S.

Side rant: Chalk it up partially to Sony's marketing blunders -- had Sony played its cards right Minidisc would be Zip disks of today's computers. Then there's consumer resistance. Sure enough, Americans are still sore about the VHS vs. BetaMax (8mm) video tape format war. Naturally everyone was glad when the industry settled on a video tape standard -- even though Sony's superior Betamax format lost out! Nevertheless this debacle left our citizenry wounded and overly wary about new formats. But I digress.

Many people have never heard of Minidisc technology, but it is a thriving format. And I expect it will be around for quite some time ... at least until the price of 160MB flash memory sticks drops to less than a dollar. But that day is probably further off than the life span of a held cassette recorder. So if you're on the fence about getting yet another cassette recorder or a Minidisc recorder ...

Some of the new Minidisc recorders sell for less than $140 -- less than many cassette recorders. And except for portable "Walkman" style recorders, it's nearly impossible to find a cassette recorder with microphone inputs anymore!


So just get a Minidisc recorder, OK? That said, I will now wax positive about these remarkable devices.

If burning CDs were only as easy and flexible as recording with Mindiscs! Minidisc recording represents everything CD and CD-RW recording should be.

First off, mindiscs are truly rewritable. They are not limited in the ways CD-RW. You're free to add or remove tracks to a disc at any time. Plus you can move tracks, and snip out unneeded sections.Name them. Rename them. And unlike CD-RW, you don't have to rewrite the entire disc to make a change. It's fairly remarkable.

Each time you record, the recorded material becomes a new track on the disc and and is automatically numbered -- later you can title the track as well . This alone offers a huge advantage over cassettes, because you can jump instantly from track to track, instead of tediously winding or rewinding tape.It's easy to get seriously lost when searching a cassette .

And the fidelity is great! While Minidisc recorders do not produce true digital audio recordings, Sony's "compression" scheme, called ATRAC, is excellent.. (Sony prefers not to use the term compression and refers to ATRAC as "data reduction.) In normal record mode, called LP1, ATRAC employs a 5:1 "reduction" ratio -- meaning that it discards 80% of the audio data. Yet the fedelity is surprisingly good, and it sounds great even with material that would sound bad if compressed with MP3 -- which is normally uses a 10:1 ratio.

Hands down, Minidisc sound quality far surpasses cassette recordings. And Minidisc recordings don't suffer from pitch fluctuations that plague cassette recorders. (Nevertheless, some Minidisc recorders offer variable pitch, so you can tune recordings to your instrument, releaving you of the chore of tuning your instrument to the recording!)

Pitch problems with cassettes. A cassette recording will reliably play back in tune on the deck it was recorded ... However, put the tape in another cassette deck and you'll probably you'll hear a descrepancy in pitch. In other words, the music will playback out of tune. The descrepancy occurs when the motor speed of the recording deck varies from the motor speed of the playback deck. A change in playback speed causes a proportional change in playback pitch. You might not notice a small pitch shift during causual listening, but when playing along with a recording, even a .5% deviation is enough to produce an unfulfilling experience! And a pitch descrepancy is virtually guaranteed with cassette decks. Out of the box cassette players are considered within industry spec if the motor speed is within 1.5%! (That's a quarter tone; that's a half fret to you guitarists!) It's because of prevalent pitch problems that professional cassette decks have a speed-control dial that pitch adjustment.


Best of all, minidisc recording is relatively inexpensive. A 74 minute disc costs as little as $1.50. The most recent recorders (one's with LP2, and LP4) fit nearly 2.5 hours of good quality sound on a 74 minute disc; or almost 10 hours of voice quality mono recording.

Purchase Considerations

Recently (May 2002) I've recommended the Sharp MDSR60S. It is inexpensive ($140 at Amazon.com) and it has buttons on the front for adjusting the record volume level. (More on this below). I believe it lacks 'long play' recording (LP2, LP4), but there are pros and cons to paying more for this feature. Be advised, most audio stores only carry Sony. So to find a Sharp you may have to look in mail order catalogues or on the Internet.

Rest assured Minidisc sound quality is the same, from model to model, and manufacturer to manufacturer. The main differences between models are the operating features. And in my opinion, the range of features found on Sony's less expensive offerings are behind the curve compared with the competition. Other manufacturers, like Sharp do better. Aiwa also makes Minidisc recorders.

A very popular Minidisc recorder (as of December 2001) is the Sony R-700. They are available at between $180 and $220. They sell for $250 when bundled with an unnecessary computer conntection called PCLink. You'd think this would allow you to send recordings both ways -- from the Minidisc to a computer, and from a computer to a Minidisc. As I understand it, the PC link merely offers a one-way, computer to Mindisc connection for copying MP3's to a minidisc. And I assume it does so at high speed -- otherwise, what's the point?

Look for bargains on discontinued Minidisc models. There are lots of other worthwhile discontinued still-in-the-box models available for about $100 to $150. The MZR-37 is a good early model Minidisc recorder, but I don't recommend it because the controls and display are placed inconveniently on the side, so it's really hard to use.

High end units are available from companies like Marantz -- but these devices engage in the 90/10 syndrome (where it takes 90% more effort to get 10% more result), and the price ascends frighteningly close to a four digit price tag (or above) for relatively little sonic gain! I believe it's safe to say that the same Minidisc technology goes into these units and the less expensive units -- the additional cost is for better circuitry between the mic and the recorder.

Recording

If you're looking for a microphone, get Sony's ECM-MS907 stereo microphone. With a street price of $75 to $99 you can't beat it. (There's more on Microphones below.)

If want to record with a microphone on your Minidisc recorder, shop carefully. Make sure you get a Minidisc recorder with a mic input! The mic input is a red colored jack, usually located on the side. (The black colored jack is Line-in, and while you can record via the line-in jack, you can not do so with a microphone. )

Not long ago all Sony Minidisc recorders had a mic input. I guess the removal of this feature is a marketing maneuver on Sony's part to create another niche. But it's confusing for consumers. Recently Sony began selling models such as the MZR500. Sony bills them as recorders, but beware, they have no microphone input jack. You can only record a line level signal -- such as the output from another piece of audio gear, like a CD player, tape deck, mixer, or another Minidisc player.

The main drawbacks with Minidisc recorders:

• There's no easy way to back up your recordings. (You can't copy discs digitally).

• Most portable minidisc recorders fail to provide an easy means for adjusting the record volume level. This is a most regretable oversite! Sharp makes a couple models that do so — and many of the home consoles have a knob for this purpose. (As you'll find out, although Sony invented the Minidisc format, it is not the only manufacturer of Minidisc.) You CAN adjust the record level on all recorders. But on most models it takes about 8 steps, and you can't do it while you're recording. Minidisc recorders are such a great field recording tool, but their usefulness is severely decreased by the lack of record level control, and the lack of a record button on the a remote control.

• Sony sells most Minidiscs bundled with a a PCLink option. It's a one-way connection, allowing you to transfer MP3 files from your computer to you Minidisc recorder. This increases the cost of the package by about $40 to $50. And I don't know a single person who uses the feature. Even without the PCLink you can record from your computer's headphone jack (or audio output) to the Minidisc anyway! So look for the Minidisc packages without the PCLink, and save yourself some money.

• Few Minidisc recorders have any kind of digital output, such as S/PDIF. I don't think Sony makes any portables that do. (However, there are a recent crop of computer sound cards that support TOSLink data stream, so with the proper adapter you can import your minidisc recordings to your computer without an unnecessary digital-to-analog and subsequent analog-to-digital conversion.) Regardless of such high-tech, fedelity preserving approaches, you can always record your Minidisc's analog signal (from line-out or headphone out) to your computer in real time. You can record to tape, to another Minidisc recorder, a CD burner with analog input. Just run a shielded cable from the minidisc's line out (or headphone out jack) to any recording device with a line in or mic in jack.

• I've noticed that the Line-out signal on some Minidisc recorders is hotter than spec, and will overload a Line-level input, creating clipping distortion. If you encounter this problem, lower the input level on the device you're recording to. Or instead of using the Line-out jack, use the Minidisc's headphone output, and adjust the output level via the Minidisc's volume control.

• The Minidisc's motor can be farily noisey on some models, so you may hear it on some of your recordings if the mic is near the recorder.

• Cuing is painfully slow on some models. It's fast enough once it's starts, but sometimes there's a three second delay between the time you press rewind.

• A disc with a long play recording (LP2 or LP4) is entirely unreadable by Minisdisc players that only read normal length recordings (LP1). That's right. An LP1 player won't even play the LP1 recordings that reside on a disc with LP2 or LP4 recordings. So if you're recording a disc for someone, always use LP1 unless you know their player is 'long play' ready.

• Since 2000, most Minidisc players have "limiters." These engage automatically when the record level is too hot, and drop the signal momentarily to avoid distortion. Unfortunately these limiters are pretty crude. Well, the limiter in my Sony MZR-70 is pretty harsh -- nothing smooth about it. Admittedly, it beats digital distortion -- which is way worse than it's analog cousin. But you'll notice a 'bump' or whoosh at every spot that the limiter pumedp the volume down. Hopefully the expensive models have smoother, more intelligent limiters.

• No record button on the remote control. (What are they thinking!?)

You'll find a ton (and I mean a TON!) of relatively impartial information at www.Minidisc.org, including info on prices and where to buy. So check it out!

NOTE: Minidisc recorders are available in consoles, units about the size of a home stereo cassette player. These are categorized as home audio equipment. Depending on the model, these offer features rarely found on portables: a jack for attaching a PC keyboard for easy titile of the tracks, variable pitch, a knob for analog or digital record level, and a host of analog and digital inputs and poutputs. Unfortunately, it appears that none of the consoles units have mic input! In order to record from a mic you'd need to buy a preamp or a mixer, and route the output to the line in jack. (A huge oversight on Sony's part, as a mic input jack couldn't cost more than a few of dollars ... or it's a huge marketing ploy to get you to buy a home unit, and then another to record on.)

OK, that's probably more than you need to know about Minidiscs.

Microphones

• Sony's ECM-MS907 stereo microphone ($99.95 list price; street price $75.) provides a perfect complement to a Minidisc recorder. And it works with any kind of recorder that has a stereo mini jack. Having bought several stereo microphones in the $40 to $70 range, again I was skeptical. But this is a remarkable little mic — like an Shure SM 57 it's imperfections err in the pleasant, listenable direction. An excellent value, I recommend it without hesitation.

• I evaluated Sony's $300 MS-957 stereo microphone, but was disappointed. Surprisingly it has a lower level output — so you'll have to mic closer. And it produces a sound much less sweet than the ECM-MS907 mentioned above. It's stereo image is less noticable, it adds an unpleasant hollow, roomy sound, plus the tone so bright it's brittle. All this for $200 more?

• I also evaluated Sony's ECM-DS70P $74.95. Although it's only $25 less than the ECM-MS907, it's a huge step down. It noisy, and it sounds pretty harsh, especially in the high end. The only advantage: it doesn't require a battery. Surely a better dynamic (batteryless) stereo mic can be found.

Here are some other good, road worthy, reasonably priced mics. Shure's SM 57 and SM 58, and AKG's CS-1000. These use XLR (Canon) connecters, so you'll need some kind of adaptor to connect them to a minidisc recorder.

Occasionally Radio Shack sells a flat response, 20 - 20,000 Hz microphone. I believe they're made by Sony. Some years they have 'em, some years they don't! These are great knock around mics, good enough to use on stage. Radio Shack often discounts them at the end of the year when they sell for $15 to $25. The regular price is often $40 to $60. Unlike all the other Radio Shack mics, these have a straight cylinder casing -- so their easy to spot. I wouldn't recommend their other mics.

Bookshelf Speakers

• RCA's PRO-LX55 dipole bookshelf speakers provide remarkable clarity and dispersion, and deliver impressive volume and bass response as well. Usually they’re on sale every other month at Radio Shack (Radio Shack catalogue number 40-5007) for as low as $60 or $75 a piece -- although I was say them on clearance for $49.97. The regular price is $149 each. The optional addition of a powered or unpowered subwoofer would complete a small but striking speaker system for approximately $250.
  

Variable-Speed Cassette Tape Players

Sony's TCS-580V is a good quality Walkman-style stereo cassette recorder. You can adjust playback speed by plus or minus 12.5%. This allows you to tune recorded music to your instrument. It comes with a set of good headphones. Although the Sony TCS-580V will play back at various speeds, it always records at normal speed. (List price $140)

You can connect the Sony TCS-580V to your stereo, and listen through your loud speakers. All you need is a stereo system near your computer with an available audio input, like Aux In, Tape In, or CD In. To make the correct connection, get an adapter cable (two 1/4 inch phone plug to 1/8 inch mini stereo plug, and run it from the headphone jack of the TCS-580V to the audio input on your stereo. If you hear distortion, turn down the volume on the TCS-580V. Then you can raise the volume control on your stereo system to increase the volume without adding distortion.

The Amazing Slow Downer download area at http://www.ronimusic.com/download.htm is divided in Macintosh and Windows areas. And it's easy to locate, as it is the first title in each area. The current versions at the time of this review:
      -  Macintosh 2.6.9   

      - Windows/PC 2.6.9

It only takes a couple of minutes to download by 56K modem. Try it. If you like it, register to get a registration code that fully activates the software.

I use the Amazing Slow Downer regularly to good effect. It has been WELL worth $40!

Over the past couple of decades I've spent hundreds of dollars on Marantz (i.e. Superscope) variable-speed tape recorders -- three in all. These cassette players offer far fewer features than the Amazing Slow Downer, and all of my Marantz machines are now dead or ailing. Total investment was approximately $1100. Comparitively $40 is a great deal!

I'm glad to report that Amazing Slow Downer author Rolf Nilson is really on the ball. He's quite responsive about inquiries, orders, and support, and he continues to develop and refine his product for PC and Macintosh computers! In May 2002 he added stereo playback, and he greatly improved the quality of the sound processing. The result was an astonishingly increase in fidelity.

For the sake of comparison, Amazing Slow Downer's interface is less elegant than SlowGold's, mainly that it is less graphical, but in terms of various features and function, SlowGold needs to do some catching up. It lacks ASD's ability to transform playback on the fly, changing pitch and speed independently, without processing delays and without writing files to your hard disk!

Pros:

• Plays tracks from CDs, CD-RW, .WAV files and MP3
• Independent control over pitch and speed.
• A simple measn for changing keys: - 2 drops the pitch 2 half steps.
• Numerous loop playback controls.
• Available for PCs and Mac (The competing SlowGold is for PCs only.)

• Doesn't add files to your harddrive!

Cons:

• Due to copy protection schemes, fully activating the demo version to a registered version was a bit confusing. However the author was always there to help!

Other Points:

• Speed: 20% to + 200%
• Pitch range: plus or minus one octave
• There's no printed manual, but there are extensive notes in a text document. Unfortunately this file is locked, so you can't cut and paste the information into a form that may be more helpful.

Please support shareware authors by registering! They provide us with some wonderful tools like this one.

NOTE: I haven't tried any other transcribing software for the Macintosh.

SlowGold

SlowGold is available for $49.95 — and there's a stripped down version called SlowBlast for $19.95. SlowGold appears to be the best offering for the PC.


You'll find information about SlowGold at the SlowGold's home page at:

http://www.worldwidewoodshed.com/

There's a collection of reviews at:

http://www.worldwidewoodshed.com/reviews.htm

And a product comparison sheet at:

http://www.worldwidewoodshed.com/compare.htm

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I've seen SlowGold in use, but I haven't spent time with in on my own, so I can't give an informed opinion. Howver I know several people who use it regularly. They think it's great! It's sound clarity is quite good. I heard only slight "phasing" when listening at half speed. Personally I didn't care for the loop control features. Also, I disliked the that it uses the harddrive to write .

Pros:

• Plays tracks from CDs, CD-RW, .WAV files and MP3.
• Good sound quality.
• Independent control over pitch and speed.
• Includes a printed manual.

Cons:

• For PCs only — Mac users check out the Amazing Slow Downer
• Setting up loops is somewhat cumbersome — first you must record a section of the track; then you can trim it to the exact loop size you want
• SlowGold writes files to your disk — and there are delays when it does so.
• Manual fairly unclear. Fails to adequately differentiate between the concept of Loop and Trim.

Other points:

• Speed range: 5% to 200%

• Pitch range: Plus or minus one octave.

• SlowGold keep a database called the Loop List. Sounds like a great idea, allowing the user to continue your work tomorrow without setting up again from scratch; or to create assignments for students. But the Loop List doesn't calalogue the more precisely "trimmed" loops that you'll want to save.

I seen other products have poor quality and clunky interfaces. Often when digital music slowed, the quality degrades significantly, and the playback sounds shrill and choppy. But SlowGold sounds great! Have Fun!

Other Variable-Speed CD Software for Macintosh Computers

Retro CD 1.5 is a shareware utility that plays music CDs at any speed from 0% (that righ, full stop) up to 800%. You can download a free demo from the Internet. It comes with a four-hour trial period. And registration costs only $10!

Retro CD is available only on the Internet. You can download RetroCD from a number of Internet sites. However, finding RetroCD on the Internet can be a challenge. So I've provided some extensive notes below.

While RetorCD is a useful tool, bear in mind, unlike the current crop of CD utilities, RetroCD's playback speed and pitch are intertwined. In true "retro" fashion, when you change the speed the pitch changes proportionally — just as if you were using a variable speed turntable or tape deck! However with Retro CD, half-speed playback sounds much clearer than with cassette or vinyl, and you won't wear out you records or tapes! But as mentioned, with the speed set to 50%, the pitch drops an octave.

But there one some advantage to RetroCD. If you want to play a CD with just a small adjustment to the pitch, the resulting fidelity is not compormised in any way, other than the change of pitch and tempo. RetroCD simply changes the speed of the sample playback, and so it introduces no distortion or "phasing" due to sample interpolation.

Pros:

• Higher quality sound than the packages offering independent pitch and speed.
• Mixer window
• A/B loops for looping small sections repeatedly
• Precise control over speed, in increments as small as .01%

Cons:

• Only plays CD tracks. (It can not play AIFF, WAV, or MP3 files)
• No way to set loops point numerically
• Only for Macintosh
• There's been no improvements for quite some time.
• The registration process is inherently slow because all user names and passwords are sent out by snail mail. Due to a few foul-ups beyond my control, several weeks passed between the time I sent in registration form and payment and the day I receive my password. Unfortunatley, I've heard that others have had the same experience. Whatever your experience, hang in there because Retro CD is well worth it.


Comments:

• Pitch range: 0 - 800% (Half speed is 50%)
• If you use RetroCD to alter the pitch just slightly (for instance to tune a track that's slighly out of tune with your instrument), you'll hardly notice the change in speed.
• Please support shareware authors by registering. They make some wonderful tools like this one.

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Where to Download Retro CD

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If you have a new Macintosh with a PowerPC processor (this includes all iMacs, G3s, G4s, and most Macs later than the Quadra series) download:

retro-cd-15-en-ppc.hqx The "-en-" portion of the title means, release 1.5, English version.(The version with "ja" in the place of "en" is the Japanese version.)

If you have an earlier Mac with a 68xxx processor, you'll need the version entitled:

retro-cd-15-en-68k.hqx
The "-en-" portion of the title means, release 1.5, English version.(The version with "ja" in the place of "en" is the Japanese version.)

The following locations are those of the author and distributor:

    http://members.tripod.com/masa_u/
    
    http://home.highway.ne.jp/masa-u/q5/


    http://www.kagi.com/


You can also find a PowerPC version of RetroCD at:

    http://www.hitsquad.com/smm/programs/RETRO_CD_macppc

To find a 68K version of Retro CD (for Quadra Macintoshes or earlier) go to:

    http://www.hitsquad.com/smm/programs/RETRO_CD_mac68k/

If none of these links prove fruitful, go to www.Dogpile.com and search for: Retro CD variable speed. This has always worked for me. If that fails, and you have to engage in a more extensive search, try spelling RetroCD in some of the following ways: RetroCD, Retro-CD, or Retro_CD, etc. Variable speed is often spelled variable-speed.

RetroCD and some related file are compressed into a .hqx file for fast downloading. After you download the .hqx file, it should expand automatically via the compression software installed along with your browser, leaving a folder on your Mac that contains Retro-CD its related files. Once the hqx file is expanded, and you've got Retro-CD running, you no longer need the .hxq file, so you can delete it.

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TIP: Good speakers make all the difference! Your computer's built-in speaker probably can't produce good quality sound, unless they are multimedia quality speakers. So if you don't have multi-media speakers, consider these other options:

• plug headphones into your computers headphone jack
• listen through add-on multimedia speakers
• run a cable from your computer's audio-out jacks to an audio input on your stereo system to a stereo system — if your computer has no audio out jacks, use the headphone jack.