If I can add my 2 cents (as an audio engineer): the quality of preamps and converters is the priority over sampling rates and even bit depth. That seems to be something the average video maker is a bit confused about, mainly due to marketing talk. If a recorder can go up to 192kHz doesn't mean the audio quality will be good. It means that the frequency range will be large (and so will the files!), this should result in crystal clear upper frequencies IF the preamps and converters (and of course microphones) are up to that task, which is probably not the case with most pro-sumer products. Encoding bad quality audio in 192kHz is a waste of disk space. It's like recording a poor camera sensor output in 8k. The reality is that good analog preamps (and limiters) and good converters cost money. In a studio situation, one single high quality preamp can cost more than $1k per channel just to give you a frame of reference. I remember recording a choir with a Zoom H6n, there was so much harmonic distortion (even without clipping anything) that it sounded as if I was running the whole file in a fuzz pedal in parallel. This is because they give you a few dBs of true analog gain (like 20) and then it's just digital "gain" which is the same as zooming on a 720p image to get 4k. It just digitally expands your weak audio signal, including the noise. And we don't want to sound like the Niagara falls, right? So, the more sensitive your microphone, the less gain you'll need and the cleaner your audio should be. But the risk to saturate the microphone will also be higher. Microphones have "self noise" too, which should be considered as this noise will be amplified by your preamp. Some manufacturers give you these numbers. Bit depth (16, 24, 32 bit) is your dynamic range, think of it as the height of a ceiling you never want to hit while jumping on a trampoline. In theory, working in 32bit should give you enough dynamic range to never saturate your file, which is what we all want, right? Now, this is if your preamp/limiter/converter haven't clipped already. So, again, the analog side is probably going to be the limiting factor here. Most recording studios work in 24bit these days, either in 44.1kHz, 48kHz or double that (88.1/96) and this is with drums, horns and loud rock singers. So, 24bit/48kHz should be plenty enough to record normal dialogue. I'd go for 32bit for security if possible and I'd make tests in 96kHz to see if my mic/preamp/conversion chain let the sparkle through or not (I doubt it will). Let's remember that human voice is all about the mids and that you'll probably find some "sss" in the upper frequencies that you'll want to get rid of anyway, so I don't think going for high sampling rates makes that much sense. If you're recording cymbals or acoustic guitar, that's another story. But chances are your final project will be down-sampled to 48kHz anyway, so think twice before going for monster audio files. Converters are not just a matter of conversion chips. There's always an analog stage in conversion and clocking is key. A bad clock results in jittering, which translates in blurry audio. This is something manufacturers don't communicate a lot about, unfortunately. So, all in all, I'd take a MixPre3 with quality components over any 97-channel recorder any day, should I be given the choice. I must say that I once ran into noise problems with a Neumann MS pair into a SoundDevices recorder, so it seems that nothing is perfect anyway. Enough rambling - back to editing ;-)
Pascal Deshayes fellow audio engineer here and spot on, what never ceases to amaze me though is when people spend money on great gear, great mics etc and then buy the cheapest cable lol
Wa-wa-Wow! That was GREAT! Answered my Mix Pre questions too. I plan on visiting all these folks at NAB this year and digging into this myself. Thank you!
The certainly are doing fine. Less so with their video division, which used to be called "Video Devices." That company died a rather quick death a few years ago.
This is one of the best tutorial reviews I have ever viewed on any subject. I really appreciate the time, effort and knowledge from first-hand experience. I get cramps in my finger from clicking out of the never-ending list of "training" and "reviews" that start well and quickly become teasers or run-ups to another course, ebook and pay-to-play webinar or video series. I will be subscribing and watching your other content. I really enjoy that you are sharing facts and opinions but clearly note each. Thank you again!
We've updated this video for 2022: ruclips.net/video/jFgJcrS_APk/видео.html 00:36 Zoom H1, H1n, and Tascam DR-05 Handheld recorders 03:00 Zoom F1 lavalier and on-camera recorder 05:17 Tascam DR-10L and Lectrosonics PDR mini body pack lavalier recorders 06:43 Tascam DR-60DmkII, Zoom H4n Pro, Zoom H5, Zoom H6 11:53 Centrance Mixerface R4R 12:50 Roland R-88 (Discontinued but can find used) 13:48 Zoom F4/F8/F8n, Sound Devices MixPre, Tascam DR-701D 32:21 Sound Devices 600 Series and Zaxcom Maxx, Nomad, & Deva
Curtis Judd i’m thinking about careers, and i was wondering what college you went to because i really have a passion for cinematography. Any wisdom would be great👌
@@williamcooper5793 Hi William, I didn't go to film school, I'm a product manager and videographer at a software company for my day job. Everything I know about audio and film production and post was learned in my spare time - online, books, talking with pros, etc. In fact, I learned a lot about photography in the university library when I should have been studying for my Information Systems classes. :)
Great video man, nailed this video to the T. There is not one video out there that can compete with the quality of this video, again, great job. You've got my support.
0:10 When you mentioned, _"This episode is LONG"_, you should have added, "Use popcorn" first. xD 4:28 I was absolutely horrifield while on set, on discovering that my cellphone that was sitting next to my DR-40 was cause static in the recording! Lesson learned! Mr. Judd, you are absolutely *_WONDERFUL_* for putting this together. Hearing from someone with firsthand knowledge is invaluable. And the way you present it is so balanced and fair. We have a great asset (you) on our side in this corner of RUclips! Three cheers for you/Mr. Judd!!! :D By the way, I didn't even need popcorn. Boy did that went by fast. I, personally, benefited from this video. I have been shopping around and researching (a la your videos throughout the months), and this comparison video is beautiful(ly done, too).
@@huyked True, better safe than sorry. So far, I've been lucky if they switch the phone to the other side of their hips. Having said that, I once got massive interference when I put an Olympus recorder under a sound board to get ambiance of a live event.
5 лет назад+1
Thank you very much for the video. The original Zoom H1 has served with honor for 6 years, finally the capsules of the microphones have been broken.
People put way too much energy into fretting over ‘the best’ equipment and not nearly enough into creating and improving skills. Skills > equipment. Always. That said-you are one of the few RUclipsrs I trust to try to give objective reviews. Lots of folks just hawking stuff and reviewing things they don’t fully understand, or the context in which they should be used.
Hi Daniel, I entirely agree! There are some bad products out there but once you get past those, you can make great recordings with many of these. It often comes down to which is a good fit for the particular job. My hope is mainly to educate people on that and how to operate these to get the best recordings possible. Cheers!
Very important information/tipp for all Tascam dr-60d mkII user ! I had the problem with the XLR cable witch would never come out again but I solved it. It took me about 2 hours to figure out, but it worked ! I totally dismantled it and drilled savetly a hole into the XLR intup. So I could press on the machanic that it loose it. For more infos write me. I made also some pictures to remember myself. (I assume no liability for any problems)
I have used the Oade Brothers website as a resource and have not purchased from them. They show the Roland line of recorders and do custom modifications for various types of recording. www.oade.com/index.html
Curtis, your kind contributions to help educate others, and help them make the right decisions are immense. These videos are literally the global reference guide for audio engineering. I really appreciate all the hard work and hours that you put into making these. Wish there was a better way to say thank you for these - but - thank you again! All the best and greetings from Tokyo
What a thoroughly valuable and well-presented set of information. Really appreciate your approach to providing detailed, thoughtful and practical information for audio and video people. Thumbs well up. I've seen lots of your videos, but particularly wanted to comment on this one.
Thank you. I have neither of these machines, but there seems to be a MAJOR bit of info missing re the Zoom F series vs. Sound Device mixpre 3, and that apparently vastly superior recording capacity of 32-Bit Recording / 142 dB Dynamic Range, that all but makes sound saturation impossible... I think.
This video was made before either of the new gen 32-bit float recorders had been announced. Here are my thoughts on the two as of December 2019: MixPre II Series: ruclips.net/video/8lRVnMO14k8/видео.html Zoom F6: ruclips.net/video/byMZkEvYRKw/видео.html MixPre MixAssist vs Zoom AutoMix: ruclips.net/video/oTLfgQ3qSek/видео.html
Wow, thank you again for another stellar video. Your work is thoughtful and meticulous. Question regarding the warmth that the mixpre gives over the zoom f series (which is obvious and preferable to my ears): Can this be achieved easily in post or does some quality get compromised with it not being a native characteristic of the recording?
Also I appreciate your clarification on limiters and their importance in the grand scheme of things, but would you say that the new zoom look-ahead limiters are a vast improvement over the previous normal f8 limiters? I noticed they’ve kept the setting for the normal limiters which seems strange. Why would one prefer the normal limiter system over the new one unless there are situations where the look-ahead limiters may be too aggressive or may compromise something. Thanks again!
The only difference I've noticed is that the look-ahead limiters also catch the initial transient whereas the original limiters did not. I cannot think of a reason to use the older version of the limiter. That's really the only difference. You still end up with a noise floor that is 10dB louder so it isn't really a vast improvement. Honestly, in most cases when I'm recording with the F4/F8/F8n, I don't use the limiters. But I mainly shoot interviews where the biggest modulation is when somebody laughs. If I leave 18dB of headroom, that usually will not clip/distort.
Thanks @@curtisjudd so the F series can essentially produce a quality of sound that is equal to the mix-pre and perhaps a 633, if EQ'd properly. I do feel the sound devices flavor is more full-sounding and cinematic (Hollywood), so glad to hear that if I get better at this, I can get truly pro quality sound out of this f8.
I have experienced that same problem with an XLR connector getting stuck in my Tascam DR-40's Neutrik combo connectors. This has only happened with Cannon style XLR connectors (made in China, so I don't know if that is a factor). I have had no problem at all with Neutrik or Switchcraft style XLR connectors connecting to the DR-40. See the video below for how to identify the different style XLR connectors. ruclips.net/video/AnU27N3Clsw/видео.html
Fill the bottom of your bag with styrofoam balls (or a mini beanbag), which is light, and will stabilize irregular surfaces like the messy end of a recorder setup -especially in confined spaces like bags.
how to record sound with video on phone in a big hall You can check how is the sound quality when i record for my channel allskr please suggest solution
As always a really good review. A friend of mine also has a stuck XLR cable in his Tascam recorder. I also almost got one stuck once but I figured that it's more of an issue withe the cable than with the recorder. We both own RODE Microphones which had a cable included. The RODE Cable is the one which got stuck in the recorder of my friend and also almost got stuck in mine. Never had issues with my self built cables for which I used Neutrik Plugs. Maybe there is someone who can confirm this theory ?!
I experienced the same with an X-32 digital mixer that had the release tab missing on the XLR input channel. Since these devices get tossed around in bags it's no surprise if the release tabs have broken off before locking in the connector. I had to take the mixer apart to pry and break the lock from inside the barrel to release the cable.
I had an issue with Tascam DR-60DmkII as well at the first use. The only solution is to use the Neutrik cables. So I replaced all my XLR cables with Neutrik plugs and it works fine.
This is packed chock full of good info. My 22 year old son is doing a Filmmaking and audio/visual program at a local college, and I've pointed him at your channel. SO much great valuable content here. My interest was because I'm looking at field recording audio gear options and was curious what the whole product ranges of these companies look like. I had never considered the difference between an A/V focused or film sound production focus and its effect on the design of a field recording device and this video showed lots about that. Thanks.
Well out of the range of my pocket but fascinating to watch. I'm happy with my Olympus recorder. I use it asa supper walkman with the option to record as well.
I dropped my Zoom H1 on concrete and destroyed it. I was disappointment in the replacement which was the H1n. Sound quality was the same but I preferred the mini usb and single AA battery of the H1 as opposed to the micro usb and 2 AAA on the H1n. I enjoy all of your videos.
Whoa! Whoa. Whoa... ~43 minutes? You must be under the impression that I like long and drawn out cinematics that are full of in-depth technical details... Yes, I love Kubrick's movie catalog. How did you know? 😂
Nice video so far but Tascam DR-10X is XLR the L is LAV (the DR-10L in EU is called a Tascam DR-10CS, they also do one called the Tascam DR-10CH which has mXLR in and out.
@@curtisjudd That's okay I owe you for 90% of my audio knowledge, I've practically watch the back log of your videos over the last couple of months and they were instrumental in with my upgrade from a AT-8035 with H4n to a NTG3 and MixPre6. - We all owe you so much for sharing the wealth of your knowledge :-D Big Thanks!
The 10L in EU is still 10L but in EU an 10CS is also available (but hard to find). 10CS have “line out ?” / send through which can be used for wireless transmitter as for example. ...ehh yeah so 1/8 locking TRS(or TS???) in and out. I think 10CS might be discontinued.
This is as relevant as when it was posted. From an old sound pro (I am not in the business anymore), this is very good advise - not least for the viewers who feel they are missing out on much better sound and lah-di-dah using a consumer device. There is a difference but often the difference does not make a difference when it comes to final use of the recorded material. Curtis says it like it is, the professional products are engineered with a systems mindset to perfom in a larger context and in a way more "abusive" way than any consumer or prosumer device ever needs to encounter. Materials, ergonomics, stability, serviceability, interfacing capabilities and so on drives the price up. When I started out, my first encounter with this type of unit was the Nagra IV, the film studio where I got my first job had a couple and I got to take them home and experiment and record stuff. Some viewing this channel will know them because they are still around - build-like-tanks over engineered Swiss masterpieces with tone pilot synchronisation to 16mm and 35mm cameras and weighing 10 tons. At least it felt so after a few hours carrying one on a slim shoulder strap with a boom in your hands. Enough of me, know your gear and how sound behaves, that will have a lot more impact on the quality of your material than anything else.
When using line out to the camera, the Zoom H5 and H4N Pro both generated what sounded like digital interference in the signal. It's faint, but a deal breaker for me. I wound up going back to my Sony PCM M10 and D50 which don't have XLR inputs but in terms of noise floor, battery life and ease of use, they outperformed the Zooms.
With the Sony portables, you can get around the lack of XLR and phantom power with a Denecke PS1-a box. They're not too expensive and seem like pro quality.
Great video, thank you so much! I actually own - and highly recommend the Zoom MRS-8 digital multi-track recorder. For musicians - what a machine, and has incredible on-board audio effects (I use it as one of my master effects unit in the studio) pristine 24-bit clear quality, and it even runs off 4 AA batteries, and has XLR and 1/4" inputs. Just putting it out there - and they're cheap - mine was $150 CDN used.
Great video.... For music, I get the impression the MixPre3 is superior. And it has a stereo line-in and the better headphone amp. Analog limiter and android support is gravy at that point. If I need more than 3 microphones, I'll just have to go back to the studio.
Iv'e been using my Tascam DR-60DmkII for about a year now. And I've been able to get excellent sound quality out of it. I've used it in combination with the Sennheiser MKE 600 shotgun mic. I have yet to drop my Tascam. I did have a couple times where it was difficult to disconnect the XLR from the Tascam, but that only happened a couple times, and hasn't happened in several months.
Hey Curtis do any field recorders have built in EQ? I am thinking to upgrade to Mix-Pre10ii (from Mix-Pre3) but would really love to have some more controls on each channel such as eq, compression, reverb, and other controls which musicians commonly use. I know about the musician plug-in but i dont think it has a multi-band eq
I am not aware of any in the consumer or prosumer range with have more than high pass filters. The high-end pro recorders do such as the Sound Devices 8xx series. Part of the reason for that is that they're made to work in a workflow with post-production. They're not generally meant for live mixing like a mixing board.
Another great show. I will be checking out your course and also see if you have an email there. I'm hoping to be able to email you with a couple of quick questions reference a device and mic for foley fx and outdoor sound recordings for stop motion. Thank you sir.
Thanks for all the work you did on this video, Mr. Judd. As a performing singer songwriter, I'm finally getting around to doing some better quality music videos and live concert footage of various projects. I'm just scouting around to get a feel for what might be the most effective gear for a guy who wants quality but doesn't get paid to do it, as you mentioned. Also, I want to factor in not having to duplicate gear so the system I end up starting with will work for my private studio and also be mobile enough to take out on gigs to do video's there as well. Of course, your material is a bit of a stretch for a guitar-picker like me to wrap my head around until I get more advanced but I learned a ton from this in spite of my entry-level ability. I have a much better idea of what to look for than I did before I ran across your material. Looks like I'll be learning a bit more about the DAW for dedicated music performance recordings, as you mentioned. Thanks again . . .
Hey Curtis, I just wanted to say thanks for all your videos. I am only just starting to purchase equipment for upcoming project and you explanations + your price point categorizations help SO MUCH! It's making me feel more comfortable with my purchases and I can honestly and accurately categorize myself as a prosumer (for now). Thanks again.
Hi Frank. Most of my experience is with Orca sound bags so I'm not sure that I'm qualified to speak about them in the same way I did here. But we did do a tour of my typical sound bag setup: ruclips.net/video/-Bg82fhmqjM/видео.html
OMG! I had a shure 200$ lav get stuck in a tascam dr-40 and I had to physically DESTROY the recorder to get it out. It was THAT bad! I think shure was to blame a little, I've never had quality XLR cables get stuck, only that shure mini xlr - xlr adapter. I wasn't going to loose my shure sub-miniature lav though.
Love my Tascam DR60 mkII. It's a war horse. *BUT* the cables sticking in the XLR input jacks are a real issue. I even took it into their service for repair... which they charged me $160 and didn't fix. It ain't the cables. So I'd recommend the DR60 but with the caveat that it's disposable and when it fails you just buy another (or something else).
Can you help with a good recommendation. I have a canon m50, deity d3 pro. My goal is to monitor video with a headphone while I record videos. I want better audio by being able to monitor the audio before and during recordings. To this goal, I purchased the Comica CVM-AX1 Audio Mixer Adapter. The sound quality in the headphone was horrible and not and indicator of my actual sound. Now, I am considering purchasing a Beachtek DXA-MICRO-PRO PLUS Active Audio Adapter or Beachtek DXA-CINE Mini-Plug Audio Adapter for Cinema Cameras or Tascam DR-60DmkII 4-Input / 4-Track Multitrack Field Recorder or Beachtek DXA-MICRO-PRO Active XLR Compact Adapter. Can you recommend one of these or some other product I should consider?
You forgot the Nagra :) I have the de device but I am very interested in Centrance products. What is the best for musicians the Mixerface or the other with the limiter ? I appreciate your help because I trust you for 100 ! Your videos are so HELPFUL! I'm also looking for a small but powerful mixer to use with my IPad Pro (with usb c) and iPhone for when I'm on the go. Can you advise me which is the best make and model for me? It is intended to be recorded for piano and sometimes some other soloists in chamber music as well
After watching your video, I purchased the ZOOM F1 with the shotgun mic and lapel mic. What a difference in my video's audio quality! I do like the shotgun mic, but the lapel mic is well worth the investment. Thank you for the tips. I can watch a video with so-so video, but I cannot watch a video with crappy audio. Thanks for the help, my last four videos sound very good now.
Also something to note. The DR-60D Mrk II, we have several. If you're powering it via battery pack through usb and remove the power while still recording it will stop recording. Even if there are physical AA batteries in the body. Always use multiple mics people. Always use multiple mics. It not only stopped recording but it didn't save any of the previous 2 hours. We lost the entire segment.
Curtis, I hope all is well with you... During this NAB 2020 B&H is offering a special Zoom H6 with two Mic Capsules for $249, Unreal price! I can't see any where that you individually tested or directly reviewed it. I know I have herd you often refer to it's color display. I do mostly Sports and ENG right now but the call for multi person Podcasting is coming everyday. My main mic for just about everything is my 416. I have a couple Audio Technica (Shorter) for on Video Camera Work (Sony NX3). What are your thought of the Zoom H6? Thanks in advance.... Todd
Hi Todd, I did a written review many years ago over at www.learnlightandsound.com/blog/2015/06/29/zoom-h6-my-impressions-after-4-weeks?rq=zoom%20h6 It is a great consumer grade recorder, especially at $250.
Is the MixPre's headphone volume louder than the Zoom R8n's? (I wish manufacturers would make a really LOUD headphone output so that you can kind of hear what's being recorded overtop of any 'in the room' sounds such as guitar amps and drums that are bleeding past your headphone earcups.)
I love your thorough coverage. Another great video. As a 15 year location sound human, I did find your take on the Lectrosonics lav recorder sort of....funny? Tascam as a company...mid tier musician audio. Zoom...historically a budget musician company (RE: crap). Lectrosonics is THE industry standard for 80% of reality TV, which is not the best as far as content, but does require the most robust and bulletproof operation. The only reason Lectro made that recorder, is because Glenn Sanders (president of Zaxcom-wireless and field recorders) has a US exclusive patent on wireless+recorder tech. All I am getting at, is I worry you might be misleading some of your audience (the ones who want to go onto set work) that products made by Zoom, Tascam or Rode or whatever are somehow "pro level". I would probably get fired on the first day if I showed up with any of those units. If you're a film student, wedding/corporate videographer, or work in a smaller market (not NY or LA or ATL...etc) these units will get you by until you are ready to (and can afford to) invest, BUT...they can/will ruin your day. If you have a small crew, making a proper day rate (lets say 2-cam, 1-audio and a producer), you are looking at $2000/day, just in day rate, no rental factored in. If you have to switch a location because your cheap gear can't handle the local RF or something craps out because it's not pro level, that is a big loss and will screw your reputation. Then you have the post department...I could go on. All in all...viewers, please pay attention to Mr. Judd's initial introduction and how he describes his use case...it is not "one size fits all". I'm watching this because I want to see which of these cheaper units can operate as a field recorder and an iOS audio interface, for my next long run shoot...hotel room music recording and ambient stuff. ::edit:: Just watched the last bit of your video....SUPER sorry...you reiterated everything I said. I should finish vids before chiming in. You sir are a gem. I am a jerk.
I Own a Zoom F4, a tascam DR-60D MK-I, a Tascam DR-60D-MKII, and Now a Zoom F8N. In my experience, upgrading from a Tascam DR-60D, to a Zoom F4 was a very significant upgrade. The DR-60D has several Issues, when recording more than 30 minutes continuously for a lecture or a concert, It doesn't keep up with the time of the video, if you try to put the audio and video together in Post, they won't Sync; Using it with an external USB Battery It's Great, but the USB connector debilitates over time, and will develop a false contact. If you are still going to buy a DR-60D, Don't buy the MK-I, It has the same Issues as the MK-II, but with an additional one: the screen starts to fade over time, and It will render it almost unusable, so skip Directly to the MK-II. I Have been using the Zoom F4 Every single Day in the last two years, Recording everything from short films, documentaries, commercials, Interviews, and even making two track recordings of very Long concerts, and It has not failed me in any way. It's a very Robust recorder; Absolutely no issues with keeping up time. After buying a recorder like the F4, or F8n, concentrate your money in buying better Mics.
I had the infamous "stuck XLR cable" problem with the DR-60D. Ugh. I literally had to disassemble it and use a Dremel to extricate the cable. Not fun. On the plus side (I guess), it still works fine and provides a reasonable friction fit in (I had to remove the locking tab) the surgically modified XLR jack. Hopefully Tascam have since fixed this tragic flaw in an otherwise really nice, versatile recorder.
Curtis, thanks for your videos. Did you ever used Aaton Cantar x2 or x3 ? What do you think about it? Best is preamp, direct mix or both? Tell me. Thanks
I had the DR60D MKIIand the DR70D both of which had a great deal of self noise. I bought the DR40 which is superb and currently use the DR701D for all of my voiceover work, expensive? Yes, have I tried the Zoom range? In all honesty no so i cannot comment but am happy with the DR40 and 701 as they both produce excellent results.
F1 bulky ! I have been using a Mobile Pre (older version.. ) with a laptop, cables, big condenser mics, and shoulder bag to record outside. My recent improvement on that, is a DSR 570 WSP body with firewire to mini handycam, or use my working 570 to it's tapedeck.. I am excited for on the way (Thanks to eBay...) is the wireless transmitter/reciever, big sony mic and lavalier...
Thanks Curtis for another generally objective and comprehensive review vid. You are now one of my. 'go to' sources for gear review and insight into sound devices, so I subscribed some months ago. Talking of devices it's because of your perspectives that I first heard about "Sound Devices" and did a lot more research then bought a MixPre-6. I'm still learning and trying to get the best out of my MP6, but I feel it's a good example where I chose not to buy the 'reference' brand I knew (Tascam) but kept an open mind, waited, researched, paid more short term to hopefully pay less long term. Did the same with mikes, recently buying a Sennheiser MKH 416. Much more than I would have initially spent on a mike a year ago. Then in my ignorance. I would have attempted to buy cheap. But then again, having made and learnt from past mistakes, I really understand the saying 'buy cheap, buy twice'. Also, as a photographer I can understand why I will pay £2k+ for a great lens, so I understand that a really good mike logically will likely cost more than £300. Albeit diminishing returns is also a real world thing, so I don't over reach or ever 'splurge' beyond my financial means.
Hi Curtis, I have spent a lot of time on RUclips and Google and am about to make a final decision. Will probably go with the VT500 lavalier which you recommended instead of VT506 (which supposedly has lifted up frequencies at 8 kHz). But have a hard time choosing recorder. I need a reliable recorder, top notch sound quality, preferably with dead silent noise floor, best possible connector to mic, and I do not care for any extra unneeded features (such as time code) although I don't mind them as long as they work properly and don't boost the price too much. What are your thoughts on these: 1. Zaxcom ZXF400 (3-pin micro LEMO connector, Never Clip, good that it is portable, a lot of extra features that I do not care for, no help online on how to use) 2. Lectrosonics (TA5 connector which you seem to view positively, not to impressive limiter but safety track, portable, good that it is portable, bad timecode which I do not need, strong build) 3. Sound Devices MixPre 3 II (3.5 mm connector, seem to save clips very well, not as portable, a lot of help online on how to use such as your online course) Or would you go for something else? And Zoom and Tascam don't seem to live up to what I need.
Hi Dominic, it would be a toss up between the Zaxcom and Lectro for me. Maybe leaning a bit more toward the Zaxcom. Not sure what your longer term plans are, but the Zaxcom ecosystem is highly integrated.
We've been using the zoom f4 for a while now and the only gripe would be that if you accidentally phantom power the output, the recorder will fry. We had to send it back a few times because of this.
Aumbience or ahbience or maybe ambience as in I am aaammmbience jk jk lol Thanks for the video! I went with the H8. I'm just now starting to get into field recording! Im excited! I learned a lot from your video that will help me make decisions in the future in terms of upgrading recorders! Thank you!
Two days ago I ordered a Zoom F8n... (Which I don’t have yet) and just saw this exceptional good informative video. Glad fully didn’t bought the Tascam Dr701D
Curtis, thanks for getting back to me so quickly... I went to place the order at B&H and the Sales Rep brought up the ZOOM LiveTrak L-8. He brought up the ability to remain semi portable (From a power stand point) and I'm not ever be a full Audio Bag / Boom Operator. Dollar wise it looks like a no brainer. The H6 is at the end of a life cycle and the L-8 is at the Leading Edge! Any option? Again being asked to help other Small Business With Podcast Development it might make more since.... Thanks as always, Todd
Wow, so 42 minutes -- going on 2 hours, phew..... Whatever you do, do not get MixPre 2nd gen. models, they have cheapened them down now from 1st gen MixPre (which is what is being reviewed here). They are really cost way too much now for what they are in fact worth and give you. Regarding the über-priced esoterics, probably all the Hollyweird graphic novel franchise sound people are using those on the $200 million budget shoots. In case you are into that.
Thanks for the video! Some F8 insights after 2 years of use: TLDR: F8 is fantastic and I wholeheartedly recommend it after 2 years of very active use! Best value and portability without compromising features. Can rival significantly more expensive big boy gear. Full: got an F8 in 3/2017. Had been working as a mixer for just over a year at that point (booming before) and I was renting kits for mixing jobs, so this was my first recorder. Such a great piece of hardware, especially considering the price. Originally thought this was temporary on my way to a 633 or 664 but this turned out to be so good I don’t see a reason to upgrade anytime soon! Feature set is robust enough to (mostly) rival 633/664 but it’s much more portable - perfect for travel or low key productions where discretion is required (sensitive subject docs or stealing shots on fiction without a permit). Limiters are fine, but dual record is really where it’s at: set one input to two tracks at different gains of your choosing and you always have a clip safe track. I use it 99% of the time on the boom track. Game changer. F8 may not be on par with Sound Devices’ tank-level build quality, but I’m not the most cautious of mixers, and my F8 shows minor signs of wear cosmetically but nothing else. Don’t settle for the ‘prosumer’ tag, I’ve taken this on big jobs and it can handle almost anything that’s expected of the $4k competition. Can’t speak to service as nothing has gone wrong (knock on wood). Some minor cons: In my experience, TC may drift when powering off and on, but my battery powers me through a full day, so I just power down once or twice a day and make sure to jam every time. Director/boom feed requires a wonky hookup - either route one of the outs to a comtech or split the headphone feed to your headphones and comtech. Neither is ideal but it’s a minor inconvenience frankly. The F8's Headphone amp does colour sound a bit, but it’s for monitoring levels so it’s never been a concern for me. I know how my mics sounds and can tell if something's off even with the headphone amp’s discolouration. I've heard that the F8n's headphone amp addresses this issue. Didn’t even know about the firmware update! Need to check it out. Honestly could not recommend this recorder enough! Never tried the F8n (and don't see a need to upgrade because the changes are minor in my opinion), but it's the same price I paid for the F8 back in '17 with more features and improvements, so it's an even better value! If I were to pick something higher end, it would be a 6-series Sound Devices recorder. I’ve used them many times and know how intuitive and tough they are. Zoom F-series devices appear to be largely inspired by SD's 6-series. Not a big Zaxcom Nomad fan from my limited experience with it. BUT!!! I honestly cannot say that I feel the limitations of the F8 in comparison to SD's 6-series, other than prestige and brand reputation. If I did need a feature I was lacking on my F8, I would probably rent a 633 for a specific job rather than upgrade.
busyak let me thank you for writing this. I value real world opinions on things and I’m thinking of getting the F8n. Ive had a few recorders (all tascam since TEAC/TASCAM were all I knew back in the 80s wen getting into audio/music production) and felt zoom was inferior to tascam. This video and your comment has swayed my mind a bit. Ive a dr 680MKII and i may move on to the f8n. Your comment was a good reason I’m leaning that way and i want to thank you. I know how “brand prestige” can come into play on a show and it seems the zoom series is better than I originally thought.
I have an early TASCAM model of the DR-05 more recently I bought the TASCAM DR 100 mkIII. It is great for many applications. I use it for field recording now but plan to use in film making too.
I bought Tascam 701d after watching your review. I tested for all of about 3 minutes before realizing it was not going to give me the quality I wanted and returning it. Just an idea: you could put a card on that video, telling people of your revised opinion. The bag I got for it fits my Mixpre perfectly though, so not a loss.
I used the Tascam DR-70d for years before finally upgrading to a zoom f8n. The Tascam seemed cheaply made with plastic buttons, headphone volume control that stopped working, and power issues. If I plugged it in via the USB port to external power, all system settings were reset, and if unplugged (or breathed heavily on the usb cable) even with batteries in it, it would turn off. Just running battery powered did not last long. The zoom is soooo much more professional and now I run it off a v-mount most of the time so can record for days straight if I wanted to.
Hi Curtis, I am researching which audio recorder to buy and I often found your videos and explanations - also on your website. Always very clear and helpful. I am not sure if I buy Tascam DR-60D-II or any of the Zoom H4n or H5. My goal is mostly to record acoustic piano in connection with a camera and using a microphone Rode M5 or Rode NT5, which are recommended for pianists. Although Tascam apparently meets my needs even more thah Zoom, especially because it has a better interface with cameras (I don't care about the poor battery life and lack of computer interface), I often heard and read that Zoom is more suitable for musicians and Tascam is more suitable for film making, which made me confused. Which of the recorders would you recommend for acoustic piano recording in this situation? Thank you very much and keep on producing such useful and helpful content!
Hi Felipe, The H5 or the DR-60DmkII could do the job well. My personal preference is for the Tascam just in terms of usability, but there are a lot of happy H5. owners out there as well.
Amazing lighting for a video about sound. So glad you made this (though I'm here 4 years later) as there aren't too many videos about these types of products anymore. And I don't know why because any of us who need to record from more than one audio source NEED devices like these.
A lot of positive feedback on this video (rightfully so) for being comprehensive. However, just as friendly feedback.... Would've preferred additionally a list of equipment that is best for specific circumstances. I really really dislike when reviewers say "You need to try them all yourself" because that defeats the point of watching a review -- we'd really like recommendations for specific applications in a more confident, less academically vague way. I understand the purpose of the latter, in terms conversation -- but you really just add ambiguity to most people's minds, who aren't as experienced, because while your experience gives you intuitive confidence subconsciously, those with less experience get analysis paralysis. Again, just as friendly feedback -- the reason most of us look for this kind of content is to help us make decisions & to find the strong opinions (based in experience): "This is what I would use in 2019 with a Mirrorless interview setup on-the-go" "This is what I would use in 2019 for a DSLR setup in a small RUclipsr home office studio" "This is what I would use with bigger video setups in a studio, with highly experienced audio staff, of semi-professional range" "This is what I'd use for amateurs with little audio experience who want the most reasonable quality with the best automation and little fuss" "This is what I would use for professional production, when you want total control of editing and unlimited options" etc. I think very few people are just looking to wax philosophical. A chart would be helpful to stay on track.
Wireless transition sucks. 50% of the time you need to voiceover. The “consumer” stuff may not be made of metal but it is light and I like it. They are cheap too so if they die you don’t cry. I don’t always agree with you but you’re spot on with your sound assessment. The holy grail of good is the zoom F6. I love it and it never fails. The truth about bulk, for you youngin’s they are always in the way and never in the way. Pay attention to blocking and just but it on the side that is away from the camera the most
9:30 ... maybe they just need to press the locking mechanism properly ;) ... Have had lots of students, that had that problem (i.e. not having enough finger strength for pressing the locking mechanism on XLR plugs ;-D
I just randomly clicked on this video. But I feel like it was meant to be since I’m gearing up to start my podcast I want to watch your video right now that NT1 Microphone 🎤
I've got a Tascam DR-70D and do have the XLR cables get stuck problem. in my case this is only an issue with a particular set of cables that I've put together using XLR shells, they are cheap shells that appear to have a slight taper on them, and that causes them to get stuck, (I've also found that they can get stuck in my larger mixing desks) - though they don't get stuck in my "cheaper" smaller desks. Never had a problem with cables where the XLR shells are not stylised to taper. (i.e "standard" ones.)
If I can add my 2 cents (as an audio engineer): the quality of preamps and converters is the priority over sampling rates and even bit depth. That seems to be something the average video maker is a bit confused about, mainly due to marketing talk.
If a recorder can go up to 192kHz doesn't mean the audio quality will be good. It means that the frequency range will be large (and so will the files!), this should result in crystal clear upper frequencies IF the preamps and converters (and of course microphones) are up to that task, which is probably not the case with most pro-sumer products.
Encoding bad quality audio in 192kHz is a waste of disk space. It's like recording a poor camera sensor output in 8k.
The reality is that good analog preamps (and limiters) and good converters cost money. In a studio situation, one single high quality preamp can cost more than $1k per channel just to give you a frame of reference. I remember recording a choir with a Zoom H6n, there was so much harmonic distortion (even without clipping anything) that it sounded as if I was running the whole file in a fuzz pedal in parallel. This is because they give you a few dBs of true analog gain (like 20) and then it's just digital "gain" which is the same as zooming on a 720p image to get 4k. It just digitally expands your weak audio signal, including the noise. And we don't want to sound like the Niagara falls, right?
So, the more sensitive your microphone, the less gain you'll need and the cleaner your audio should be. But the risk to saturate the microphone will also be higher. Microphones have "self noise" too, which should be considered as this noise will be amplified by your preamp. Some manufacturers give you these numbers.
Bit depth (16, 24, 32 bit) is your dynamic range, think of it as the height of a ceiling you never want to hit while jumping on a trampoline. In theory, working in 32bit should give you enough dynamic range to never saturate your file, which is what we all want, right? Now, this is if your preamp/limiter/converter haven't clipped already. So, again, the analog side is probably going to be the limiting factor here.
Most recording studios work in 24bit these days, either in 44.1kHz, 48kHz or double that (88.1/96) and this is with drums, horns and loud rock singers. So, 24bit/48kHz should be plenty enough to record normal dialogue. I'd go for 32bit for security if possible and I'd make tests in 96kHz to see if my mic/preamp/conversion chain let the sparkle through or not (I doubt it will). Let's remember that human voice is all about the mids and that you'll probably find some "sss" in the upper frequencies that you'll want to get rid of anyway, so I don't think going for high sampling rates makes that much sense. If you're recording cymbals or acoustic guitar, that's another story. But chances are your final project will be down-sampled to 48kHz anyway, so think twice before going for monster audio files.
Converters are not just a matter of conversion chips. There's always an analog stage in conversion and clocking is key. A bad clock results in jittering, which translates in blurry audio. This is something manufacturers don't communicate a lot about, unfortunately.
So, all in all, I'd take a MixPre3 with quality components over any 97-channel recorder any day, should I be given the choice.
I must say that I once ran into noise problems with a Neumann MS pair into a SoundDevices recorder, so it seems that nothing is perfect anyway.
Enough rambling - back to editing ;-)
Thanks for the insights, Pascal - gold!
As a fellow pro audio engineer...I approve this message...:)
@@TheVictoriousSecrets 👍
Pascal Deshayes fellow audio engineer here and spot on, what never ceases to amaze me though is when people spend money on great gear, great mics etc and then buy the cheapest cable lol
DRILL 2.0 recommend a certain cable?
Wa-wa-Wow! That was GREAT! Answered my Mix Pre questions too. I plan on visiting all these folks at NAB this year and digging into this myself. Thank you!
We'll see you there at the SD booth. :)
This was a great Video on Sound...man I just Love my Sound Devices Gear! its amazing they are so on top of their game
Couldn't agree more!
I used to lust after their pro level 4 channel which was like, $2500. So stoked to see they now have a
@@Capnmax 👍
The certainly are doing fine. Less so with their video division, which used to be called "Video Devices." That company died a rather quick death a few years ago.
Sound Devices and Lectrosonic for wireless, nothing else you gonna see on Hollywood film sets those days, except in the racks of course.
Wow, this one is epic. I don't know I need to go through all this, but it's a great place to send anyone to find the answers.
Thanks Kyle.
Kyle Olson mine records for 7 secs then stops
Plenty sound on levels going in from rode phantom power in 4
DASS GREEN what
Same thoughts here. Love this video, thanks for putting it together.
Really enjoyed your presentation and style - good info, well-put!
Thanks so much Gordon. Means a lot coming from one of my go-to sources for camera reviews!
@@curtisjudd cheers! Looking forward to watching your other videos - feel free to ask me about cameras or anything else I cover!
Great, brand coverage. Couldn't have asked for a better overview. Thank you!
Thanks Dorian!
This is one of the best tutorial reviews I have ever viewed on any subject. I really appreciate the time, effort and knowledge from first-hand experience. I get cramps in my finger from clicking out of the never-ending list of "training" and "reviews" that start well and quickly become teasers or run-ups to another course, ebook and pay-to-play webinar or video series. I will be subscribing and watching your other content. I really enjoy that you are sharing facts and opinions but clearly note each. Thank you again!
Thanks Johnny.
The fact that this gentleman answers every question says alot.
Thanks Skip.
We've updated this video for 2022: ruclips.net/video/jFgJcrS_APk/видео.html
00:36 Zoom H1, H1n, and Tascam DR-05 Handheld recorders
03:00 Zoom F1 lavalier and on-camera recorder
05:17 Tascam DR-10L and Lectrosonics PDR mini body pack lavalier recorders
06:43 Tascam DR-60DmkII, Zoom H4n Pro, Zoom H5, Zoom H6
11:53 Centrance Mixerface R4R
12:50 Roland R-88 (Discontinued but can find used)
13:48 Zoom F4/F8/F8n, Sound Devices MixPre, Tascam DR-701D
32:21 Sound Devices 600 Series and Zaxcom Maxx, Nomad, & Deva
Curtis Judd i’m thinking about careers, and i was wondering what college you went to because i really have a passion for cinematography. Any wisdom would be great👌
@@williamcooper5793 Hi William, I didn't go to film school, I'm a product manager and videographer at a software company for my day job. Everything I know about audio and film production and post was learned in my spare time - online, books, talking with pros, etc. In fact, I learned a lot about photography in the university library when I should have been studying for my Information Systems classes. :)
@Curtis Judd thanks!
What do you think about the Tascam DR-70D?
@@dot4636 I have only used it once but it seems decent like the DR060DmkII but with fewer buttons and 4 XLR inputs.
Amazing video, really great. I really admire how much work you put in these videos...
Thanks Bánáti!
True. Good work
Excellent as usual
Thanks Boneteacher!
Great video man, nailed this video to the T. There is not one video out there that can compete with the quality of this video, again, great job. You've got my support.
Thanks ZeroByte!
Professional presentation of professional equipment. Thank you!
Thanks!
This is one of THE BEST videos I've seen on sound. THANK YOU!
Thanks!
Hello
0:10 When you mentioned, _"This episode is LONG"_, you should have added, "Use popcorn" first. xD
4:28 I was absolutely horrifield while on set, on discovering that my cellphone that was sitting next to my DR-40 was cause static in the recording! Lesson learned!
Mr. Judd, you are absolutely *_WONDERFUL_* for putting this together. Hearing from someone with firsthand knowledge is invaluable. And the way you present it is so balanced and fair. We have a great asset (you) on our side in this corner of RUclips! Three cheers for you/Mr. Judd!!! :D
By the way, I didn't even need popcorn. Boy did that went by fast. I, personally, benefited from this video. I have been shopping around and researching (a la your videos throughout the months), and this comparison video is beautiful(ly done, too).
Haha! Great point! Popcorn would have been the most useful recommendation of all!
Whenever I mic the talent and put the recorder in their pocket, I make sure there is no cellphone in the same pocket.
@@raksh9 Good policy!
@@raksh9 I would even say, not in the pocket next to the recorder.
@@huyked True, better safe than sorry. So far, I've been lucky if they switch the phone to the other side of their hips. Having said that, I once got massive interference when I put an Olympus recorder under a sound board to get ambiance of a live event.
Thank you very much for the video. The original Zoom H1 has served with honor for 6 years, finally the capsules of the microphones have been broken.
Good to hear. 6 Years is pretty good for a little plastic recorder!
Do you have a video where you showcase the sound treatment in your studio space? Your voice comes is very clean with almost zero echo.
No, but that's a good idea. Thanks!
People put way too much energy into fretting over ‘the best’ equipment and not nearly enough into creating and improving skills. Skills > equipment. Always. That said-you are one of the few RUclipsrs I trust to try to give objective reviews. Lots of folks just hawking stuff and reviewing things they don’t fully understand, or the context in which they should be used.
Hi Daniel, I entirely agree! There are some bad products out there but once you get past those, you can make great recordings with many of these. It often comes down to which is a good fit for the particular job. My hope is mainly to educate people on that and how to operate these to get the best recordings possible. Cheers!
Very important information/tipp for all Tascam dr-60d mkII user !
I had the problem with the XLR cable witch would never come out again but I solved it. It took me about 2 hours to figure out, but it worked !
I totally dismantled it and drilled savetly a hole into the XLR intup. So I could press on the machanic that it loose it.
For more infos write me. I made also some pictures to remember myself.
(I assume no liability for any problems)
Thanks.
I have used the Oade Brothers website as a resource and have not purchased from them. They show the Roland line of recorders and do custom modifications for various types of recording. www.oade.com/index.html
Thanks Frank.
I got a MixPre-3 because of your previous videos on it. No regrets.
Glad it has worked out well!
@@curtisjudd I teach film students with these and also use for my own Sound Design etc....great units!
@@TheRonseye 👍🏻
RME Babyface Pro is best for portable recording, but you have to connect it to some laptop
Right - I've heard good things. Just not practical for filmmaking which is the focus here.
Curtis, your kind contributions to help educate others, and help them make the right decisions are immense. These videos are literally the global reference guide for audio engineering. I really appreciate all the hard work and hours that you put into making these. Wish there was a better way to say thank you for these - but - thank you again! All the best and greetings from Tokyo
Thanks so much Markku!
What a thoroughly valuable and well-presented set of information. Really appreciate your approach to providing detailed, thoughtful and practical information for audio and video people. Thumbs well up. I've seen lots of your videos, but particularly wanted to comment on this one.
Thanks Akamatsu!
Literally, the best audio channel on youtube!
Thanks Visual Trigger!
Thank you. I have neither of these machines, but there seems to be a MAJOR bit of info missing re the Zoom F series vs. Sound Device mixpre 3, and that apparently vastly superior recording capacity of 32-Bit Recording / 142 dB Dynamic Range, that all but makes sound saturation impossible... I think.
This video was made before either of the new gen 32-bit float recorders had been announced. Here are my thoughts on the two as of December 2019:
MixPre II Series: ruclips.net/video/8lRVnMO14k8/видео.html
Zoom F6: ruclips.net/video/byMZkEvYRKw/видео.html
MixPre MixAssist vs Zoom AutoMix: ruclips.net/video/oTLfgQ3qSek/видео.html
Wow, thank you again for another stellar video. Your work is thoughtful and meticulous.
Question regarding the warmth that the mixpre gives over the zoom f series (which is obvious and preferable to my ears): Can this be achieved easily in post or does some quality get compromised with it not being a native characteristic of the recording?
Also I appreciate your clarification on limiters and their importance in the grand scheme of things, but would you say that the new zoom look-ahead limiters are a vast improvement over the previous normal f8 limiters? I noticed they’ve kept the setting for the normal limiters which seems strange. Why would one prefer the normal limiter system over the new one unless there are situations where the look-ahead limiters may be too aggressive or may compromise something. Thanks again!
Hi xak huh, the difference is so small, I would think that an EQ in post could achieve the same result.
The only difference I've noticed is that the look-ahead limiters also catch the initial transient whereas the original limiters did not. I cannot think of a reason to use the older version of the limiter. That's really the only difference. You still end up with a noise floor that is 10dB louder so it isn't really a vast improvement. Honestly, in most cases when I'm recording with the F4/F8/F8n, I don't use the limiters. But I mainly shoot interviews where the biggest modulation is when somebody laughs. If I leave 18dB of headroom, that usually will not clip/distort.
Thanks @@curtisjudd so the F series can essentially produce a quality of sound that is equal to the mix-pre and perhaps a 633, if EQ'd properly. I do feel the sound devices flavor is more full-sounding and cinematic (Hollywood), so glad to hear that if I get better at this, I can get truly pro quality sound out of this f8.
@@xakhuh5104 Clarification: You can make it sound like a MixPre, but not sure you can make it sound like a 633.
Fantastic comparison video thank you so much 💚🤙🏽
Thanks Mike!
Thank you for a very professional presentation.
You’re most welcome!
I have experienced that same problem with an XLR connector getting stuck in my Tascam DR-40's Neutrik combo connectors. This has only happened with Cannon style XLR connectors (made in China, so I don't know if that is a factor). I have had no problem at all with Neutrik or Switchcraft style XLR connectors connecting to the DR-40.
See the video below for how to identify the different style XLR connectors.
ruclips.net/video/AnU27N3Clsw/видео.html
Thanks.
Fill the bottom of your bag with styrofoam balls (or a mini beanbag), which is light, and will stabilize irregular surfaces like the messy end of a recorder setup -especially in confined spaces like bags.
Great idea, thanks for that!
how to record sound with video on phone in a big hall
You can check how is the sound quality when i record for my channel allskr
please suggest solution
I’d use an external stereo mic attached to the phone like a Shure MV88
@@curtisjudd Thank you dear
Excellent video - appreciate your efforts
Thanks!
Curtis, great review as always. How about the Deity s-mic 2 into the Zoom H4N pro? Enough gain out of the s-mic 2 for that recorder?
Probably just barely. With all the other options available, I'd choose something else.
@@curtisjudd Thanks! I think I'll try the Zoom H5 then. Or the Tascam as it's much cheaper than the H5.
As always a really good review.
A friend of mine also has a stuck XLR cable in his Tascam recorder. I also almost got one stuck once but I figured that it's more of an issue withe the cable than with the recorder. We both own RODE Microphones which had a cable included. The RODE Cable is the one which got stuck in the recorder of my friend and also almost got stuck in mine. Never had issues with my self built cables for which I used Neutrik Plugs. Maybe there is someone who can confirm this theory ?!
I suspect you're right.
I experienced the same with an X-32 digital mixer that had the release tab missing on the XLR input channel. Since these devices get tossed around in bags it's no surprise if the release tabs have broken off before locking in the connector. I had to take the mixer apart to pry and break the lock from inside the barrel to release the cable.
If you build your cables yourself, then go with Switchcraft connectors. Don't settle for Neutrik.
I had an issue with Tascam DR-60DmkII as well at the first use. The only solution is to use the Neutrik cables. So I replaced all my XLR cables with Neutrik plugs and it works fine.
This is packed chock full of good info. My 22 year old son is doing a Filmmaking and audio/visual program at a local college, and I've pointed him at your channel. SO much great valuable content here. My interest was because I'm looking at field recording audio gear options and was curious what the whole product ranges of these companies look like. I had never considered the difference between an A/V focused or film sound production focus and its effect on the design of a field recording device and this video showed lots about that. Thanks.
Thanks so much, Warren!
Such in-depth reviews!! New sub here!
Thanks John-Marc!
how to record sound with video on phone in a big hall
#allskr
Try a Shure MV88
One of the XLR/TRS inputs on my Zoom H5 completely failed.
:-( Sounds like it is more common than I realized.
@@curtisjudd Zoom's support was responsive, but not sure I want to pay the cost of an off warranty replacement, which is $155 plus shipping.
@@JamesMatthewGallagher Steep for a $269 recorder.
But the Tascam 701D has syncing via HDMI, do the other devices have that feature?
MixPre also has it. It didn't work very well in my tests with the DR-701D but perhaps they've fixed it since then.
@@curtisjudd Thanks for the info. I'll have to give the MixPre a closer look.
Well out of the range of my pocket but fascinating to watch. I'm happy with my Olympus recorder. I use it asa supper walkman with the option to record as well.
👍
I've used the Olympus WS-822 at weddings on the groom. Audio was so much better than a wireless and no dropouts.
I dropped my Zoom H1 on concrete and destroyed it. I was disappointment in the replacement which was the H1n. Sound quality was the same but I preferred the mini usb and single AA battery of the H1 as opposed to the micro usb and 2 AAA on the H1n. I enjoy all of your videos.
Thanks for sharing your experience. Ouch!
Whoa! Whoa. Whoa... ~43 minutes?
You must be under the impression that I like long and drawn out cinematics that are full of in-depth technical details...
Yes, I love Kubrick's movie catalog. How did you know? 😂
Tarkovsky, too! I love his work even more than Kubrick.
😀
Nice video so far but Tascam DR-10X is XLR the L is LAV (the DR-10L in EU is called a Tascam DR-10CS, they also do one called the Tascam DR-10CH which has mXLR in and out.
Thanks for the correction on that.
@@curtisjudd That's okay I owe you for 90% of my audio knowledge, I've practically watch the back log of your videos over the last couple of months and they were instrumental in with my upgrade from a AT-8035 with H4n to a NTG3 and MixPre6. - We all owe you so much for sharing the wealth of your knowledge :-D Big Thanks!
The 10L in EU is still 10L but in EU an 10CS is also available (but hard to find). 10CS have “line out ?” / send through which can be used for wireless transmitter as for example. ...ehh yeah so 1/8 locking TRS(or TS???) in and out. I think 10CS might be discontinued.
This is as relevant as when it was posted. From an old sound pro (I am not in the business anymore), this is very good advise - not least for the viewers who feel they are missing out on much better sound and lah-di-dah using a consumer device. There is a difference but often the difference does not make a difference when it comes to final use of the recorded material. Curtis says it like it is, the professional products are engineered with a systems mindset to perfom in a larger context and in a way more "abusive" way than any consumer or prosumer device ever needs to encounter. Materials, ergonomics, stability, serviceability, interfacing capabilities and so on drives the price up.
When I started out, my first encounter with this type of unit was the Nagra IV, the film studio where I got my first job had a couple and I got to take them home and experiment and record stuff. Some viewing this channel will know them because they are still around - build-like-tanks over engineered Swiss masterpieces with tone pilot synchronisation to 16mm and 35mm cameras and weighing 10 tons. At least it felt so after a few hours carrying one on a slim shoulder strap with a boom in your hands.
Enough of me, know your gear and how sound behaves, that will have a lot more impact on the quality of your material than anything else.
Thanks moponi.
When using line out to the camera, the Zoom H5 and H4N Pro both generated what sounded like digital interference in the signal. It's faint, but a deal breaker for me. I wound up going back to my Sony PCM M10 and D50 which don't have XLR inputs but in terms of noise floor, battery life and ease of use, they outperformed the Zooms.
Steven Sclafani
Curtis have asked to borrow a Sony PCM-10 and a Tascam DR-100 mkIII. I do hope they let him try it,...in April perhaps...
Agreed. The Zoom handy series are not a great choice for sending the audio to camera.
With the Sony portables, you can get around the lack of XLR and phantom power with a Denecke PS1-a box. They're not too expensive and seem like pro quality.
@@StevenSclafani Good idea, thanks.
Great video, thank you so much! I actually own - and highly recommend the Zoom MRS-8 digital multi-track recorder. For musicians - what a machine, and has incredible on-board audio effects (I use it as one of my master effects unit in the studio) pristine 24-bit clear quality, and it even runs off 4 AA batteries, and has XLR and 1/4" inputs. Just putting it out there - and they're cheap - mine was $150 CDN used.
Thanks Geoff, sounds like an interesting option if you're working from a table, desk or cart for films.
Great video.... For music, I get the impression the MixPre3 is superior. And it has a stereo line-in and the better headphone amp. Analog limiter and android support is gravy at that point.
If I need more than 3 microphones, I'll just have to go back to the studio.
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Iv'e been using my Tascam DR-60DmkII for about a year now. And I've been able to get excellent sound quality out of it. I've used it in combination with the Sennheiser MKE 600 shotgun mic. I have yet to drop my Tascam. I did have a couple times where it was difficult to disconnect the XLR from the Tascam, but that only happened a couple times, and hasn't happened in several months.
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Hey Curtis do any field recorders have built in EQ? I am thinking to upgrade to Mix-Pre10ii (from Mix-Pre3) but would really love to have some more controls on each channel such as eq, compression, reverb, and other controls which musicians commonly use. I know about the musician plug-in but i dont think it has a multi-band eq
I am not aware of any in the consumer or prosumer range with have more than high pass filters. The high-end pro recorders do such as the Sound Devices 8xx series. Part of the reason for that is that they're made to work in a workflow with post-production. They're not generally meant for live mixing like a mixing board.
Curtis Judd very helpful, thanks!
Another great show.
I will be checking out your course and also see if you have an email there. I'm hoping to be able to email you with a couple of quick questions reference a device and mic for foley fx and outdoor sound recordings for stop motion.
Thank you sir.
Thanks jenky1044. You can contact me on my channel page on the about tab. Best wishes!
This is the best gear-review/comparison video I've ever seen.
Thanks Steve!
Thanks for all the work you did on this video, Mr. Judd. As a performing singer songwriter, I'm finally getting around to doing some better quality music videos and live concert footage of various projects. I'm just scouting around to get a feel for what might be the most effective gear for a guy who wants quality but doesn't get paid to do it, as you mentioned. Also, I want to factor in not having to duplicate gear so the system I end up starting with will work for my private studio and also be mobile enough to take out on gigs to do video's there as well. Of course, your material is a bit of a stretch for a guitar-picker like me to wrap my head around until I get more advanced but I learned a ton from this in spite of my entry-level ability. I have a much better idea of what to look for than I did before I ran across your material. Looks like I'll be learning a bit more about the DAW for dedicated music performance recordings, as you mentioned. Thanks again . . .
Thanks Sheldon and best wishes on recording your projects!
Unrelated: Can't wait for your hands-on review of the just released RØDE Wireless Go micro kit. (How come you STILL hadn't done it? LOL)
Not to worry, it's on its way here now! 🙂
Curtis. The DR 100 MK IIII doesn’t work as an interface. I’ve read the sweet water page.
Thanks for the correction. 👍
Perfect!! I own the mixpre 3m and the zoom h6
Thanks Marcus. I hope they both work well for you!
Hey Curtis, I just wanted to say thanks for all your videos. I am only just starting to purchase equipment for upcoming project and you explanations + your price point categorizations help SO MUCH! It's making me feel more comfortable with my purchases and I can honestly and accurately categorize myself as a prosumer (for now). Thanks again.
Thanks Chris, really appreciate the feedback. Best wishes on your project!
Thanks for the over view. I went with the Tascam DR60 for podcasts and to record audio from my computer while doing tutorials. Awesome insight man! :D
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Hello
Curtis, I am not sure if you have already covered the subject, but if you have not, can you do a segment on sound bags? Thanks
Hi Frank. Most of my experience is with Orca sound bags so I'm not sure that I'm qualified to speak about them in the same way I did here. But we did do a tour of my typical sound bag setup: ruclips.net/video/-Bg82fhmqjM/видео.html
cool I have audio recorders but not sound devices are you a sound guy how is the zoom h6
Hi Curtis, would you say Tascam DR-60DmkI is still a great choice for small youtube channel for indoor / studio recordings?
Definitely yes!
@@curtisjudd awesome! Thanks
OMG! I had a shure 200$ lav get stuck in a tascam dr-40 and I had to physically DESTROY the recorder to get it out. It was THAT bad! I think shure was to blame a little, I've never had quality XLR cables get stuck, only that shure mini xlr - xlr adapter. I wasn't going to loose my shure sub-miniature lav though.
Ouch.
Phone interference sounds like insufficient use of metal for shielding - Tinfoil wrapper? idk...
Yep.
Love my Tascam DR60 mkII. It's a war horse. *BUT* the cables sticking in the XLR input jacks are a real issue. I even took it into their service for repair... which they charged me $160 and didn't fix. It ain't the cables. So I'd recommend the DR60 but with the caveat that it's disposable and when it fails you just buy another (or something else).
Interestingly, I never had any Neutrik connectors get stuck, just one that was from another company.
Can you help with a good recommendation.
I have a canon m50, deity d3 pro. My goal is to monitor video with a headphone while I record videos. I want better audio by being able to monitor the audio before and during recordings.
To this goal, I purchased the Comica CVM-AX1 Audio Mixer Adapter. The sound quality in the headphone was horrible and not and indicator of my actual sound.
Now, I am considering purchasing a Beachtek DXA-MICRO-PRO PLUS Active Audio Adapter or Beachtek DXA-CINE Mini-Plug Audio Adapter for Cinema Cameras or Tascam DR-60DmkII 4-Input / 4-Track Multitrack Field Recorder or Beachtek DXA-MICRO-PRO Active XLR Compact Adapter.
Can you recommend one of these or some other product I should consider?
I had good luck with the Tascam and the Beachtek DXA Micro Pro.
A great explanation of various sound recorders. Especially for those who are not professional audio mixer to learn what suits them best.
Thanks Roozbeth!
You forgot the Nagra :) I have the de device but I am very interested in Centrance products. What is the best for musicians the Mixerface or the other with the limiter ? I appreciate your help because I trust you for 100 ! Your videos are so HELPFUL! I'm also looking for a small but powerful mixer to use with my IPad Pro (with usb c) and iPhone for when I'm on the go. Can you advise me which is the best make and model for me? It is intended to be recorded for piano and sometimes some other soloists in chamber music as well
Ah yes, the Nagra, a classic. I'm not sure for musicians, but I very much like the Portcaster: ruclips.net/video/HeazXn1GYgE/видео.html
After watching your video, I purchased the ZOOM F1 with the shotgun mic and lapel mic. What a difference in my video's audio quality! I do like the shotgun mic, but the lapel mic is well worth the investment. Thank you for the tips. I can watch a video with so-so video, but I cannot watch a video with crappy audio. Thanks for the help, my last four videos sound very good now.
Excellent, Steve. Congrats on the improved audio - keep at it!
Also something to note. The DR-60D Mrk II, we have several. If you're powering it via battery pack through usb and remove the power while still recording it will stop recording. Even if there are physical AA batteries in the body. Always use multiple mics people. Always use multiple mics. It not only stopped recording but it didn't save any of the previous 2 hours. We lost the entire segment.
Good to know, thanks!
Curtis, I hope all is well with you... During this NAB 2020 B&H is offering a special Zoom H6 with two Mic Capsules for $249, Unreal price! I can't see any where that you individually tested or directly reviewed it. I know I have herd you often refer to it's color display. I do mostly Sports and ENG right now but the call for multi person Podcasting is coming everyday. My main mic for just about everything is my 416. I have a couple Audio Technica (Shorter) for on Video Camera Work (Sony NX3). What are your thought of the Zoom H6?
Thanks in advance.... Todd
Hi Todd, I did a written review many years ago over at www.learnlightandsound.com/blog/2015/06/29/zoom-h6-my-impressions-after-4-weeks?rq=zoom%20h6
It is a great consumer grade recorder, especially at $250.
5:42 I'm using my Tascam dr-10L with my battery powered shotgun microphone. It's working perfectly.
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Is the MixPre's headphone volume louder than the Zoom R8n's? (I wish manufacturers would make a really LOUD headphone output so that you can kind of hear what's being recorded overtop of any 'in the room' sounds such as guitar amps and drums that are bleeding past your headphone earcups.)
Yes, the MixPre's headphone amp is stronger than the ZOOM F series.
I love your thorough coverage. Another great video. As a 15 year location sound human, I did find your take on the Lectrosonics lav recorder sort of....funny? Tascam as a company...mid tier musician audio. Zoom...historically a budget musician company (RE: crap). Lectrosonics is THE industry standard for 80% of reality TV, which is not the best as far as content, but does require the most robust and bulletproof operation. The only reason Lectro made that recorder, is because Glenn Sanders (president of Zaxcom-wireless and field recorders) has a US exclusive patent on wireless+recorder tech.
All I am getting at, is I worry you might be misleading some of your audience (the ones who want to go onto set work) that products made by Zoom, Tascam or Rode or whatever are somehow "pro level". I would probably get fired on the first day if I showed up with any of those units.
If you're a film student, wedding/corporate videographer, or work in a smaller market (not NY or LA or ATL...etc) these units will get you by until you are ready to (and can afford to) invest, BUT...they can/will ruin your day. If you have a small crew, making a proper day rate (lets say 2-cam, 1-audio and a producer), you are looking at $2000/day, just in day rate, no rental factored in. If you have to switch a location because your cheap gear can't handle the local RF or something craps out because it's not pro level, that is a big loss and will screw your reputation.
Then you have the post department...I could go on. All in all...viewers, please pay attention to Mr. Judd's initial introduction and how he describes his use case...it is not "one size fits all".
I'm watching this because I want to see which of these cheaper units can operate as a field recorder and an iOS audio interface, for my next long run shoot...hotel room music recording and ambient stuff.
::edit:: Just watched the last bit of your video....SUPER sorry...you reiterated everything I said. I should finish vids before chiming in. You sir are a gem. I am a jerk.
Hahaha! No worries Casey, thanks for chiming in!
I Own a Zoom F4, a tascam DR-60D MK-I, a Tascam DR-60D-MKII, and Now a Zoom F8N. In my experience, upgrading from a Tascam DR-60D, to a Zoom F4 was a very significant upgrade. The DR-60D has several Issues, when recording more than 30 minutes continuously for a lecture or a concert, It doesn't keep up with the time of the video, if you try to put the audio and video together in Post, they won't Sync; Using it with an external USB Battery It's Great, but the USB connector debilitates over time, and will develop a false contact. If you are still going to buy a DR-60D, Don't buy the MK-I, It has the same Issues as the MK-II, but with an additional one: the screen starts to fade over time, and It will render it almost unusable, so skip Directly to the MK-II. I Have been using the Zoom F4 Every single Day in the last two years, Recording everything from short films, documentaries, commercials, Interviews, and even making two track recordings of very Long concerts, and It has not failed me in any way. It's a very Robust recorder; Absolutely no issues with keeping up time. After buying a recorder like the F4, or F8n, concentrate your money in buying better Mics.
Thanks Manuel, good advice.
I had the infamous "stuck XLR cable" problem with the DR-60D. Ugh. I literally had to disassemble it and use a Dremel to extricate the cable. Not fun. On the plus side (I guess), it still works fine and provides a reasonable friction fit in (I had to remove the locking tab) the surgically modified XLR jack. Hopefully Tascam have since fixed this tragic flaw in an otherwise really nice, versatile recorder.
Wow! Glad you got it worked out!
Curtis, thanks for your videos. Did you ever used Aaton Cantar x2 or x3 ? What do you think about it? Best is preamp, direct mix or both? Tell me. Thanks
Sadly, the company went out of business. But I’ve heard several production mixers praise the Aaton preamps.
I had the DR60D MKIIand the DR70D both of which had a great deal of self noise. I bought the DR40 which is superb and currently use the DR701D for all of my voiceover work, expensive? Yes, have I tried the Zoom range? In all honesty no so i cannot comment but am happy with the DR40 and 701 as they both produce excellent results.
Thanks for sharing.
F1 bulky ! I have been using a Mobile Pre (older version.. ) with a laptop, cables, big condenser mics, and shoulder bag to record outside. My recent improvement on that, is a DSR 570 WSP body with firewire to mini handycam, or use my working 570 to it's tapedeck.. I am excited for on the way (Thanks to eBay...) is the wireless transmitter/reciever, big sony mic and lavalier...
I suppose it is relative. I was speaking in relation to typical wireless body pack transmitters vs the F1. 😀
Thanks Curtis for another generally objective and comprehensive review vid. You are now one of my. 'go to' sources for gear review and insight into sound devices, so I subscribed some months ago. Talking of devices it's because of your perspectives that I first heard about "Sound Devices" and did a lot more research then bought a MixPre-6.
I'm still learning and trying to get the best out of my MP6, but I feel it's a good example where I chose not to buy the 'reference' brand I knew (Tascam) but kept an open mind, waited, researched, paid more short term to hopefully pay less long term.
Did the same with mikes, recently buying a Sennheiser MKH 416. Much more than I would have initially spent on a mike a year ago. Then in my ignorance. I would have attempted to buy cheap. But then again, having made and learnt from past mistakes, I really understand the saying 'buy cheap, buy twice'. Also, as a photographer I can understand why I will pay £2k+ for a great lens, so I understand that a really good mike logically will likely cost more than £300. Albeit diminishing returns is also a real world thing, so I don't over reach or ever 'splurge' beyond my financial means.
That combination should serve you very well for a very long time. Happy recording!
Hi Curtis,
I have spent a lot of time on RUclips and Google and am about to make a final decision. Will probably go with the VT500 lavalier which you recommended instead of VT506 (which supposedly has lifted up frequencies at 8 kHz). But have a hard time choosing recorder. I need a reliable recorder, top notch sound quality, preferably with dead silent noise floor, best possible connector to mic, and I do not care for any extra unneeded features (such as time code) although I don't mind them as long as they work properly and don't boost the price too much. What are your thoughts on these:
1. Zaxcom ZXF400 (3-pin micro LEMO connector, Never Clip, good that it is portable, a lot of extra features that I do not care for, no help online on how to use)
2. Lectrosonics (TA5 connector which you seem to view positively, not to impressive limiter but safety track, portable, good that it is portable, bad timecode which I do not need, strong build)
3. Sound Devices MixPre 3 II (3.5 mm connector, seem to save clips very well, not as portable, a lot of help online on how to use such as your online course)
Or would you go for something else?
And Zoom and Tascam don't seem to live up to what I need.
Hi Dominic, it would be a toss up between the Zaxcom and Lectro for me. Maybe leaning a bit more toward the Zaxcom. Not sure what your longer term plans are, but the Zaxcom ecosystem is highly integrated.
We've been using the zoom f4 for a while now and the only gripe would be that if you accidentally phantom power the output, the recorder will fry. We had to send it back a few times because of this.
Thanks Tin Huyen Pham. I didn't know that. Thanks for sharing!
It’s also unhappy sending plugin power to the sub output. Though nothing fries. Easier to do if using a wireless hop.
Aumbience or ahbience or maybe ambience as in I am aaammmbience jk jk lol Thanks for the video! I went with the H8. I'm just now starting to get into field recording! Im excited! I learned a lot from your video that will help me make decisions in the future in terms of upgrading recorders! Thank you!
Happy recording!
Bro I'm from india and i thanks you lots lots lots.... For your valuable teaching/sharing. Thank you very much bro.. Love you..
Thanks Dashing Tube!
Two days ago I ordered a Zoom F8n... (Which I don’t have yet) and just saw this exceptional good informative video. Glad fully didn’t bought the Tascam Dr701D
Good choice! Happy recording!
Curtis, thanks for getting back to me so quickly... I went to place the order at B&H and the Sales Rep brought up the ZOOM LiveTrak L-8. He brought up the ability to remain semi portable (From a power stand point) and I'm not ever be a full Audio Bag / Boom Operator. Dollar wise it looks like a no brainer. The H6 is at the end of a life cycle and the L-8 is at the Leading Edge! Any option? Again being asked to help other Small Business With Podcast Development it might make more since.... Thanks as always, Todd
Hi Todd, Yes, for a podcast, I'd prefer the L-8 over the H6 any day. Best wishes!
Wow, so 42 minutes -- going on 2 hours, phew..... Whatever you do, do not get MixPre 2nd gen. models, they have cheapened them down now from 1st gen MixPre (which is what is being reviewed here). They are really cost way too much now for what they are in fact worth and give you. Regarding the über-priced esoterics, probably all the Hollyweird graphic novel franchise sound people are using those on the $200 million budget shoots. In case you are into that.
Interesting - thanks for your insights. I've had good luck with the MixPre Series II - both the 3 and the 10.
Hello, i am aiming to record a digital piano and Voice with my lumix fz300 for RUclips. Which professional recorder can you advice me to buy?
ZOOM F6 may be a good choice. We cover that in the more recent version of this video: ruclips.net/video/jFgJcrS_APk/видео.html
Thanks for the video!
Some F8 insights after 2 years of use:
TLDR: F8 is fantastic and I wholeheartedly recommend it after 2 years of very active use! Best value and portability without compromising features. Can rival significantly more expensive big boy gear.
Full: got an F8 in 3/2017. Had been working as a mixer for just over a year at that point (booming before) and I was renting kits for mixing jobs, so this was my first recorder. Such a great piece of hardware, especially considering the price. Originally thought this was temporary on my way to a 633 or 664 but this turned out to be so good I don’t see a reason to upgrade anytime soon!
Feature set is robust enough to (mostly) rival 633/664 but it’s much more portable - perfect for travel or low key productions where discretion is required (sensitive subject docs or stealing shots on fiction without a permit).
Limiters are fine, but dual record is really where it’s at: set one input to two tracks at different gains of your choosing and you always have a clip safe track. I use it 99% of the time on the boom track. Game changer.
F8 may not be on par with Sound Devices’ tank-level build quality, but I’m not the most cautious of mixers, and my F8 shows minor signs of wear cosmetically but nothing else.
Don’t settle for the ‘prosumer’ tag, I’ve taken this on big jobs and it can handle almost anything that’s expected of the $4k competition.
Can’t speak to service as nothing has gone wrong (knock on wood).
Some minor cons: In my experience, TC may drift when powering off and on, but my battery powers me through a full day, so I just power down once or twice a day and make sure to jam every time.
Director/boom feed requires a wonky hookup - either route one of the outs to a comtech or split the headphone feed to your headphones and comtech. Neither is ideal but it’s a minor inconvenience frankly.
The F8's Headphone amp does colour sound a bit, but it’s for monitoring levels so it’s never been a concern for me. I know how my mics sounds and can tell if something's off even with the headphone amp’s discolouration. I've heard that the F8n's headphone amp addresses this issue.
Didn’t even know about the firmware update! Need to check it out.
Honestly could not recommend this recorder enough! Never tried the F8n (and don't see a need to upgrade because the changes are minor in my opinion), but it's the same price I paid for the F8 back in '17 with more features and improvements, so it's an even better value!
If I were to pick something higher end, it would be a 6-series Sound Devices recorder. I’ve used them many times and know how intuitive and tough they are. Zoom F-series devices appear to be largely inspired by SD's 6-series. Not a big Zaxcom Nomad fan from my limited experience with it.
BUT!!!
I honestly cannot say that I feel the limitations of the F8 in comparison to SD's 6-series, other than prestige and brand reputation. If I did need a feature I was lacking on my F8, I would probably rent a 633 for a specific job rather than upgrade.
busyak let me thank you for writing this. I value real world opinions on things and I’m thinking of getting the F8n. Ive had a few recorders (all tascam since TEAC/TASCAM were all I knew back in the 80s wen getting into audio/music production) and felt zoom was inferior to tascam. This video and your comment has swayed my mind a bit. Ive a dr 680MKII and i may move on to the f8n. Your comment was a good reason I’m leaning that way and i want to thank you. I know how “brand prestige” can come into play on a show and it seems the zoom series is better than I originally thought.
Wow, thanks for the detail! Really helpful!
I have an early TASCAM model of the DR-05 more recently I bought the TASCAM DR 100 mkIII. It is great for many applications. I use it for field recording now but plan to use in film making too.
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I've made over $250K of content with a Tascam DR70D.
Unless you absolutely need the sound devices gear, don't bother spending the extra.
That's a return on investment!
I bought Tascam 701d after watching your review. I tested for all of about 3 minutes before realizing it was not going to give me the quality I wanted and returning it. Just an idea: you could put a card on that video, telling people of your revised opinion. The bag I got for it fits my Mixpre perfectly though, so not a loss.
Thanks for the feedback.
I used the Tascam DR-70d for years before finally upgrading to a zoom f8n. The Tascam seemed cheaply made with plastic buttons, headphone volume control that stopped working, and power issues. If I plugged it in via the USB port to external power, all system settings were reset, and if unplugged (or breathed heavily on the usb cable) even with batteries in it, it would turn off. Just running battery powered did not last long. The zoom is soooo much more professional and now I run it off a v-mount most of the time so can record for days straight if I wanted to.
The F8 is great.
Hi Curtis, I am researching which audio recorder to buy and I often found your videos and explanations - also on your website. Always very clear and helpful.
I am not sure if I buy Tascam DR-60D-II or any of the Zoom H4n or H5. My goal is mostly to record acoustic piano in connection with a camera and using a microphone Rode M5 or Rode NT5, which are recommended for pianists. Although Tascam apparently meets my needs even more thah Zoom, especially because it has a better interface with cameras (I don't care about the poor battery life and lack of computer interface), I often heard and read that Zoom is more suitable for musicians and Tascam is more suitable for film making, which made me confused.
Which of the recorders would you recommend for acoustic piano recording in this situation?
Thank you very much and keep on producing such useful and helpful content!
Hi Felipe, The H5 or the DR-60DmkII could do the job well. My personal preference is for the Tascam just in terms of usability, but there are a lot of happy H5. owners out there as well.
This guy is like BMW of audio engineers
Hahaha! Thanks Mankoo!
@@curtisjudd great effort with all of your content 👍
Amazing lighting for a video about sound. So glad you made this (though I'm here 4 years later) as there aren't too many videos about these types of products anymore. And I don't know why because any of us who need to record from more than one audio source NEED devices like these.
👍
A lot of positive feedback on this video (rightfully so) for being comprehensive. However, just as friendly feedback.... Would've preferred additionally a list of equipment that is best for specific circumstances. I really really dislike when reviewers say "You need to try them all yourself" because that defeats the point of watching a review -- we'd really like recommendations for specific applications in a more confident, less academically vague way. I understand the purpose of the latter, in terms conversation -- but you really just add ambiguity to most people's minds, who aren't as experienced, because while your experience gives you intuitive confidence subconsciously, those with less experience get analysis paralysis. Again, just as friendly feedback -- the reason most of us look for this kind of content is to help us make decisions & to find the strong opinions (based in experience): "This is what I would use in 2019 with a Mirrorless interview setup on-the-go" "This is what I would use in 2019 for a DSLR setup in a small RUclipsr home office studio" "This is what I would use with bigger video setups in a studio, with highly experienced audio staff, of semi-professional range" "This is what I'd use for amateurs with little audio experience who want the most reasonable quality with the best automation and little fuss" "This is what I would use for professional production, when you want total control of editing and unlimited options" etc. I think very few people are just looking to wax philosophical. A chart would be helpful to stay on track.
Thanks for feedback.
Wireless transition sucks. 50% of the time you need to voiceover. The “consumer” stuff may not be made of metal but it is light and I like it. They are cheap too so if they die you don’t cry.
I don’t always agree with you but you’re spot on with your sound assessment. The holy grail of good is the zoom F6. I love it and it never fails.
The truth about bulk, for you youngin’s they are always in the way and never in the way. Pay attention to blocking and just but it on the side that is away from the camera the most
Thanks Danny.
9:30 ... maybe they just need to press the locking mechanism properly ;) ... Have had lots of students, that had that problem (i.e. not having enough finger strength for pressing the locking mechanism on XLR plugs ;-D
Possibly, but some people with sting fingers have reported it, too. In almost all cases, they were cables with non-Neutrik connectors.
I just randomly clicked on this video. But I feel like it was meant to be since I’m gearing up to start my podcast I want to watch your video right now that NT1 Microphone 🎤
🙏👍🎙️
I've got a Tascam DR-70D and do have the XLR cables get stuck problem.
in my case this is only an issue with a particular set of cables that I've put together using XLR shells, they are cheap shells that appear to have a slight taper on them, and that causes them to get stuck, (I've also found that they can get stuck in my larger mixing desks) - though they don't get stuck in my "cheaper" smaller desks.
Never had a problem with cables where the XLR shells are not stylised to taper. (i.e "standard" ones.)
Good to know - thanks for sharing the details, danielr82!