the noise appears only when recording, not on the pre rec stage (where we can hear the input mic), it always starts with something that reminds me the noise of a cd rom entering the pc, and then it gets periodic, like a brum, brum, brum... the noise changes the priodicy if i change the recording hz, at 96 is faster, at 48hz is slower, mono or stereo recording makes no difference.

the noise also is only noticeable when there is silence, if there is an ambient noise sometimes is not noticeable, it is there though...

any one knows how to solve this?? i believe it´s hardware related problem, but i think is coming from the tascam and not the "firewire solo" or the mic

Main specs

• SD/SDHC/SDXC card as recording medium (up to 128 GB)
• High-quality recording inputs through Tascam original High Definition Discrete Architecture (HDDA) microphone preamps with NE5532 operational amplifiers for even higher audio performance.
• Simultaneous recording of up to four channels is possible. Four channels can be mixed down to a stereo signal.
• Recording levels can be adjusted independently
• Dual recording function allows two files to be recorded simultaneously at different levels
• 44.1/48/96 kHz, 16/24-bit, linear PCM (WAV format), Broadcast Wave Format (BWF) supported
• Two built-in omnidirectional microphones
• Four XLR/TRS combo inputs can provide phantom power (+24V/+48V)
• +24 dBu maximum input level (20 dB headroom)
• Additional unbalanced input for channels 1 and 2 (stereo mini jack) supports mics that require plug-in power
• Switchable low-cut filter conveniently reduces low-frequency noise (40 Hz, 80 Hz, 120 Hz)
• Switchable limiter to prevent clipping
• High-quality audio can be output to a DSLR camera for recording
• Camera input enables convenient monitoring of audio from a DSLR camera
• Selectable mid-side decoding for use with MS microphone setups
• Slate tone functions (automatic/manual) to simplify synchronization of video files when editing
• Pre-recording function allows the unit to record the two seconds of sound before recording is activated

http://www.tascam.eu/en/dr-70d.html

Available at:

• http://www.bhphotovideo.com/c/product/1086798-REG/tascam_dr_70d_4_channel_audio_recording.html

Specs:

• Four-track WAV or BWAV recording up to 96kHz/24-bit
• Designed to attach to DSLR camera with top and bottom tripod mounts
• Easy-to-use interface with switches instead of menus
• Dual record mode captures a safety track so there’s a backup in case of overload
• High-quality microphone preamps, analog/digital converters, and recording format (BWAV) – much better than the camera audio specs
• Improved microphone preamp with up to 64dB of gain
• Camera output pads down to mic level so it doesn’t overload the camera
• Records to SD card media
• Individual headphone and line outputs
• Slate function plays a tone for easier syncronization with camera audio
• Two XLR/1/4” combination jacks plus stereo 1/8” mini jack
• Powered via AA batteries or USB input
• $199 price

Available at:

• http://www.amazon.com/TASCAM-DR-60DmkII-DSLR-Audio-Recorder/dp/B00MIXFBL0/
• http://www.adorama.com/TSDR60MKII.html

Product page - http://tascam.com/product/dr-60dmkii/

TASCAM’s DR-60DmkII is a portable recorder designed from the ground up to be the ideal recorder for DSLR filmmakers. The design of the DR-60DmkII contains a tripod mounting screw on top and socket hole on the bottom, integrating perfectly with cameras from Canon, Nikon, Sony, and others. The camera output attenuates down to mic level before passing the signal to the camera to prevent distortion. The new version includes an improved microphone preamp for up to 64dB of gain and a smoother sound.

A pair of XLR microphone inputs feed TASCAM’s latest HDDA microphone preamps and provides phantom power for condenser microphones. The preamp gain and other controls are easily accessed from the front panel with physical controls instead of software menus for quick adjustment. These preamps are recorded at audiophile resolution using premium A-to-D converters, for audio quality that far outshines the camera audio. Individual headphone and line outputs allow an additional feed on-set.

A second pair of inputs can be patched to wireless receivers or other sources for four-track recording. Alternatively, Dual Recording mode captures a safety track of your audio at a lower level. If an actor suddenly belts out a line, distorting the recorder, Dual Recording provides a non-distorted backup copy. There’s also a limiter and hipass filter to avoid overdriving your tracks.

The DR-60DmkII records Broadcast WAVE files, time-stamped with the time of day, to SD card media. A slate function records a tone to the tracks for easier synchronization to camera audio. Modern editors like Premiere and Final Cut Pro Ten have automatic clip synchronization, and there is software for syncing up with older editors.

At a cost less than competing preamps, the TASCAM DR-60DmkII is the ultimate 4-track recorder designed for filmmakers, television, live events and web broadcast.

• Wi-Fi transport control for remote start
• File transfer and streaming to smartphones or computers over Wi-Fi
• Free control and transfer software for Mac, Windows, iOS and Android
• Stereo condenser microphones arranged in close XY pattern
• Redesigned mic preamps and A/D converters
• Handles up to 120 dB SPL (up to 132 dB SPL for DR-44WL)
• 8-position scene dial for typical recording situations, as well as manual setting
• Up to 24-bit/96kHz WAV/BWF or MP3 recording
• XLR inputs with phantom power (for DR-44WL)
• 4 channel recording (for DR-44WL)
• 128 x 128 graphic, backlit LCD (for DR-44WL)
• Each mic capsule is cradled in its own shockmount to prevent vibrations (for DR-44WL)

Info

• http://tascam.com/product/dr-22wl/
• http://tascam.com/product/dr-44wl/
• http://tascam.com/product/dr_control/

Available at:

• $149 - http://www.bhphotovideo.com/c/product/1079894-REG/tascam_dr_22wl_wi_fi_enabled_portable_recorder.html
• $299 - http://www.bhphotovideo.com/c/product/1079895-REG/tascam_dr_44wl_wi_fi_enabled_portable.html

Price: $65

http://www.amazon.com/gp/product/B004OA6JW0/

• 4 Channels + Stereo Mix
• 4 XLR/TRS Inputs with Phantom Power
• Dual Built-In Omnidirectional Mics
• Stereo 3.5mm In for Stereo Mic
• 3.5mm Camera In/Out
• BNC In for Sync to LTC
• HDMI In Can Receive Timecode From Camera
• HDMI Out Can Send Audio & Incoming Video
• Records Up to 24-Bit/192kHz
• Price - $599
• http://www.bhphotovideo.com/c/product/1189478-REG/tascam_dr_701d_linear_pcm_recorder.html

TASCAM’s compact DR-10X attaches to a handheld microphone for the ultimate compact news gathering recording system. A captive XLR connector attaches firmly to your microphone, capturing interviews at 48kHz/24-bit Broadcast WAV resolution. Offload recordings through the microUSB connection or by removing the MicroSD card.

Specs

• XLR jack mounts directly to dynamic microphone (It also can use condenser microphone powered by battery.)
• 48kHz/24 bit BWF mono recording
• Uses MicroSD or MicroSDHC media, up to 32GB
• Mic pre gain Low/Mid/High control
• Instant record mode – power on while holding record button side switch
• Limiter and low cut filter
• Manual or automatic gain control
• Dual recording mode captures a copy of your audio at a lower level as a safety track
• Time Track Increment function writes a new track marker after a set time limit. There is on/off setting, but the time is 15 minutes fixed when turn it on.
• Easy-to-read OLED display
• Edit settings on a PC and send them to the DR-10X through the microUSB port
• Playback function with headphone out
• More than 8 hours of recording with single AAA battery
• IR transmit/receive to copy settings between units

http://tascam.com/product/dr-10x/specifications/

Main changes from first version:

1. Improved audio quality
   Through extended listening tests, a new op-amp and capacitor were selected for the mic preamps to deliver improved audio quality.
2. Support for SDXC cards
   Readily available SD/SDHC cards are used for recording media. The DR-680MKII also supports SDXC cards, which have higher capacities - enabling recording for long periods of time.
3. Take (file) numbers can be reset using the "Take No. Init" function
   The numbers added to recorded file names can be reset. Resetting the take numbers used for each recorded scene is now possible, making file management even easier.
4. Improved battery life
   The newly improved battery life of the DR-680mkII means that the battery now lasts 150% longer than previous DR-680.
5. Improved clock precision
   The precision of the built-in clock oscillator has been improved – making synchronization more accurate when used with video devices.
6. Dual recording function allows two files to be recorded simultaneously at different levels.
   A second file can be recorded simultaneously at a lower level for a distortion-free safety track. This allows you to set the recording level high and make a backup recording at a lower level in case of an unexpected sudden increase in sound level, which may create distortion in the primary file. The DR-680MKII can make −12dB backup recordings of audio input through inputs 1, 3 and 5.
7. Playback of multitrack recordings.
   The DR-680MKII can load multitrack audio files. Multitrack materials (multiple mono files) prepared with a DAW, for example, can be played back.
8. Support for lithium batteries
   In addition to alkaline and NiMH batteries, lithium batteries - which can provide extended power - are supported.

More info - http://tascam.com/product/dr-680mkii/

Features

• SD/SDHC/SDXC cards used as recording/playback media
• 6 balanced mic/line inputs (1-4: XLR/TRS combo jacks, 5-6: TRS jacks)
• 6 unbalanced outputs (RCA pin jacks)
• COAXIAL digital input and output (S/PDIF, AES/EBU)
• Recording/playback formats: BWF, WAV, MP3
• With BWF format, recording starting times can be stored in files
• 8-track recording at 24-bit/96kHz (BWF, WAV)
  6 mic/line inputs and stereo mix recording or 6 mic/line input and digital stereo recording •Record MP3 files at 96, 128, 192 and 320 kbps
• Record 4-channel MP3 files
  • From 4 mic/line inputs (XLR/TRS combo jacks) or 2 mic/line inputs and digital stereo inputs •2-track recording at 24-bit/192kHz (BWF, WAV)
  • From 2 mic/line inputs or digital stereo inputs •Digital inputs and outputs support double speed 96 kHz and quad speed 192 kHz
• Sampling frequencies
  44.1, 48, 96, 192 kHz (BWF, WAV) 44.1, 48 kHz (MP3) •Quantization bit depth: 16/24-bit (BWF, WAV)
• 6 channels of TASCAM HDDA mic preamps for high audio quality with 48V phantom power
• Limiter and low-cut filter available on each mic/line input
• Built-in stereo monitoring mixer for headphone mix and/or recording
• Dual recording function allows two files to be recorded simultaneously at different levels
• GANG function allows the input gain of multiple channels to be operated simultaneously
• Pre-recording function allows the capture of audio two seconds before recording is started
• Automatic recording function can start and stop recording automatically in response to the input signal level (−48, −24, −12 or −6 dB)
• Even when multiple tracks are used, all recordings made at the same time can be managed as a single take/file
• Track incrementation allows a recording to be split by creating a new file at the desired point without interrupting recording
• Up to 1000 takes and 5000 files can be recorded on a single card
• Mark function can be used to move to specific points (up to 99 marks per take)
• Wheel can be used to change the playback position
• Repeat playback function
• Panel lock function to prevent misoperation
• Cascade function allows transport control of multiple DR-680MKII units using a master unit
• File name format can be set to use a user-defined word or the date
• High-speed transfer of files to a computer using USB 2.0
• 128×64-dot matrix display with backlight
• Built-in mono speaker with 500mW output
• Headphone output and level control (50mW+50mW/ 32ohm)
• Powered by 8 AA batteries or the included AC adapter
• USB cable and shoulder strap included
• Folding stand convenient for tabletop use

TASCAM’s DR-10C-series recorders connect to your lavaliere microphone to create a compact recording system that fits on a belt pack. Two versions are available: the DR-10CL for Lectrosonics mics and DR-10CS for Sennheiser microphones. Additionally, option kits are available for Shure (AK-DR10CH) and Sony/RAMSA (AK-DR10CR.)

The DR-10CL & CS recorders have both inputs and outputs, so they can either be used stand-alone or with a wireless transmitter. When used with a transmitter, the DR-10C acts as a backup to protect against wireless dropouts during recording. For lectures or worship services, the DR-10C can record the entire program before it gets to the front of house system. And for events like weddings and reality TV production, the DR-10C is a compact recording system for body mics.

The lightweight DR-10C runs for hours on a single AAA battery.

Specs

• Micro Linear PCM Recorder for Wireless Beltpacks
• 48kHz/24-bit mono digital recording
• Uses standard microSD/microSDHC card media (up to 32GB)
• Dual Recording feature captures a safety track in case of distortion
• Two models for Lectrosonics and Sennheiser mics, option packs for Shure, Sony, and RAMSA
• Hold function prevents accidentally switching off the recorder (All keys cannot operate during recordin)
• Limiter and low-cut filter on input
• Auto gain control
• Records BWF file timestamped with time of day clock
• Time Track increment function writes new track after a preset amount of time.(There is on/off setting, but the time is 15 minutes fixed when turn it on)
• OEL display for easy visibility in any light condition
• More than 8hours recording on a single AAA battery
• Settings can be created with text file on PC and transferred to DR-10C via USB connection
• Infrared data communication for transferring setting information among DR-10C
• $199 price, available at November 2014

http://tascam.com/product/dr-10c/

• Records Up to 4 Channels Simultaneously
• Screw-On DSLR Camera and Mount to Tripod
• Operates on 4 AA Batteries
• Up to 24-bit, 96 kHz PCM Recording
• Two XLR/TRS Combo Mic/Line Jacks
• Switchable 24V and 48V Phantom Power
• 3.5mm Stereo Input with Plug-in Power
• Mic Preamps for Each Input
• Records to SD or SDHC Cards
• Transfer Audio to Computer via USB Port
• Price:$349.00

Available at:

• http://www.bhphotovideo.com/c/product/929347-REG/tascam_dr_60d_4_ch_track_linear_pcm.html

Manual: http://www.avisoft.com/DR-680.pdf

Available at (price, from $424):

• http://www.ebay.com/sch/i.html?_stpos&_fcid=168&gbr=1&_localstpos&_sacat=0&_nkw=Tascam%20DR-680&_clu=2&_sop=15
• http://www.amazon.com/Tascam-8-track-Portable-Digital-Recorder/dp/B0036VC3I2/
• UK : http://www.amazon.co.uk/Tascam-DR-680-8-Track-Portable-Recorder/dp/B003BRDAEW/

Any feedback would be great! This film asks the question, "If a corporation can have rights, why not an ecosystem?" And we're documenting the collision between the free market and democracy, out of which the rights of nature has been born...so in a way, capitalism could be creating its own death.

So, I am looking to have a few things sorted out in the sound dept. for a doc I am working on. I have decided that the subjects will have lavs with Tascam DR-05 recording on 16GB cards (enough space for the 12hrs or so quoted by Tascam on battery life with Eneloop Pros) I can't afford wireless, so the recorders are the best combo right now for lavs (opinions welcome on this) I heard samples of Zoom H1 vs the Tascam and the Zoom has too much hiss to my taste.

On camera:

This is where I am finding a bit of a hard time deciding. I want a compact kit (preferably without a rig)

Kit 1: Roland R-26 using all of its mics recording to their own independent channel (thats 2 omnis + XY) AT875r recording into the Roland R26 Since this test showed that the Roland has a bit of a hiss, I thought that using a Fethead attached the already short AT875r will give me a lower noise floor.

• Omni + XY + Shotgun channels to mix in post along with the lavs. --For this kit, I would need to get a cage to have both the Roland and the Shotgun mounted on the GH2.

Kit 2: For a lower price as the above: Zoom H6/H5 w/ SSH-6 mic. This module mic is a XY and short shotgun at the same time, which (with Zooms software) you can then choose how much of each set (XY and shotgun) you can have in your final mix later.

Sample of software and mic tests:

• on this one is that the AT875r takes the bench of gets sold because the module replaces it. The recorder mounts directly on the hotshote (no cage, or rig)
• Not enough samples from the SSH-6 mic out there, especially indoors and with dialogue, so it's a bit of a gamble and I don't know how well the noise floor will be with that combo. -/+ XY and Shotgun only left to mix later in post with the lavs. Hearing samples from the Omni+XY+Shotgun on the Roland leaves me with a bit of nice feeling.

Kit 3: The original kit I imagined I would get.

Tascam DR-70D AT875r

• cheaper than both above
• Dr-70D pre-amps are very nice but could also compliment them with a Fethead
• DR-70D built-in mics may be stereo...but they don't really give a stereo feeling so kind of pointless and the main reason for me to look at the above

That's pretty much what I have right now as options.

I also read about the Olympus LS-100 which has nice quiet pre-amps (for the XLRs) but I was advised by a friend that the 16bit recording may be too limiting if I need to compensate for either noise or for mixing. Any opinions on that?

Sadly enough no shop in London has all of these so I can test them all in one place and see what may fit best.

Also, my doc stuff is multi-field (indoor, outdoor) fly on the wall style 95% of the time so I really like the idea of having mixing options between the lavs, stereo and shotgun.

What do we think??

Via: http://www.pronews.jp/news/1309191730.html

I have a Marantz PDM661 solid state audio field recoder and a 35mm Minolta MC W. Rokkor - HH f1.8 lens for sale.

1) Marantz PMD661:

The quality of the internal electronics is so high, that you don't need a preamp (see an input noise ranking of many field recorders here: http://www.audiotranskription.de/mikrofoneingangsrauschen , scroll down to about the middle of the page).

Its a 2 channel recorder with phantom powered XLR inputs. For more info try the internet (or ask me via PM). Its a very solid built (e.g. metal housing) and it is in "like new" condition.

Included is the recorder, DC adapter, 2GB SD card (not in the picture), shoulder strap, manual, software CD, original box.

Asking 400 EUR (or best offer) + shipping from Germany.

2) 35mm Minolta MC Rokkor f1.8:

This was one of the best lensen available at its time. Its fast and renders a beautyfull boke. Its sharp and gets rid of the "electronic look" on all digital cameras. It really shines when used for portrait and beauty shots. And because of its metall body and smooth mechanics, the lens has a very nice feel when used.

The lens has a Minolta standart mount and a 55mm filter thread. Its focal length is 35mm and the iris can be opend up to f1.8. Focus distance is marked in meters and feet and close focus limit is about 30cm/1.0ft. (angle of view: 64° , optics: 8 lenses in 6 groups)

The lens is in nearly mint conditions (see picture, can send more just PM me). The only flaw it has, is a painting scratch on the bajonet mount, which was caused by an adapter. This scratch has no influence on functionallity and can't be seen when the lens is mounted to a camera. All lenses are scratch and dust(!) free. The iris is free of oil, all mechanical parts are working smooth and precise and the iris ring snapps in firmly. At all time the lens was handled with great care and stored accordingly.

Included is the lens and front+rear caps.

Asking 250 EUR (or best offer) + shipping from Germany.

The UH-7000 is a pro-level microphone preamp and audio interface designed with a strong focus on low noise and high audio quality. Not only can this unit be used as a 4-in/4-out audio interface in a DAW production environment, but as a standalone microphone preamp and A/D / D/A converter. The built-in HDIA (High Definition Instrumentation Architecture) microphone preamps are newly designed and perform at −128 dBu equivalent input noise, a signal-to-noise ratio of 117 dB and distortion of 0.0009 % or less.

The grand nature of the UH-7000’s sound is partially due to the careful attention spent on selecting parts. In addition to Burr-Brown converters and metal thin-film resistors, installed is a powerful TCXO clock generator with a precision of ±1 ppm.

The unit’s half-rack size makes it easy to install at a studio console or work desk. The thick aluminum panels used on the front and sides of the full-metal body help increase stability. Highly important but easily forgotten about are the smooth-tension aluminum input level knobs for precise level adjustments.

The UH-7000 microphone preamp and audio interface enables composers, musicians and recording engineers to produce music in their private quarters at a level generally reached only in professional studios.

• Can be used as a stand-alone high-end AD converter for monitoring or recording to stand-alone recorders
• High-performance mic preamp newly designed for this model reduces influence of impedance mismatch with high accuracy resulting in most accurate audio reproduction at the input stage
• Superb audio quality with samling rates up to 192 kHz at 24-bit resolution
• Ultra-high dynamic range of 123 dB (A/D) and 128 dB (D/A)
• Professional-grade PCM4220 A/D and D/A converters from Texas Instruments
• Selected components like metal film resistors and film capacitors for outstanding sound quality with noise and distortion minimized to a minimum
• High-precision clock synchronization with sample-accuracy at both recording and playback
• On-board DSP mixer and effects like EQ, compressor, noise suppressor, de-esser, exciter and reverb (effects up to 96 kHz only)
• Two large TRIM knobs for precise level adjustment
• XLR and TRS balanced analogue inputs
• Switchable 48-V phantom power on XLR inputs
• XLR balanced line outputs
• Line output level can optionally be adjusted with the headphones level control
• Output selector allows a source to be output via the unit's mixer or via a computer connected by USB
• Powerful headphones output with dedicated level control
• AES/EBU digital I/O
• Low-latency monitoring
• Easy-to-read 20-dot LED level meter

http://www.tascam.eu/en/uh-7000.html

It's a question about the sync issue. I do a number of long events, mainly plays, that run 90 minutes or so. I've been hearing that the Tascams drift out of sync after an hour or so. Haven't heard as much about the Zooms (save for people shooting PAL). So the first question is whether the Tascams have been fixed on this point, or if the Zoom H4N will or won't drift out of sync with my video.

I understand that I can plug these recorders into my camera's mike port, and record directly onto the video. If I do this, then I have two questions. The first is how the camera records this: does it record multiple tracks onto separate audio streams? Or does it consolidate it into a mono audio track? The second is whether the record can record its own multitrack audio file while it's feeding the camera something. (This'd make post-synching easier, and give me more options for audio mixing.)

I a using an Audio Technica with XLR phantom power attached to the DR-40, and the DR-40 Attached to the GH2.

I noticed there are 4 levels on the GH2:

Level 1: Level 2: Level 3: Level 4:

What is the best level for recording dialog?

What settings will work best for getting crisp, clear sound with very little noise?

I try to find a good solution for sound in my 5D, just for some normal interview( could be in the studio and any place clients are). Before I used HDV to get some sound, 5Dget image, and sync in post with pluraleyes. But I found a lot people do get better solution. Now I try to learn it.

So what I'm trying to do is just get the quality sound directly into my 5D2, without post work with pluraleyes. My buddies are: TASCAM DR-100, SONY UWP-V1(Radio mic)，Audio Technica AT897, also got Rode NTG-1(but this one no AA power supply). 5D2(hacked with Magic Lantern 2.3)

First, I try sony radio mic directly plugin to 5D, it's reasonable sound for event interview stuff, but definite not really good quality, as 5D doesn't have good sound handling ability( I guess).

Then I get this TASCAM thing.(A lot people use H4n, i guess similar thing). Tascam has 2 XLR input, So I use sony radio mic and AT897 (both powered by themselves). My tascam get decent sound these two mic. I used tascam's 3.5 line output, send the sound to 5D's 3.5 mic input. monitor the 5D's sound through AV mount. (wiki ML says we will need a RCA-3.5 adapter, i didn't see that before so i just plugin my 3.5 headphone in to that AV end, it works, I did get the sound there, amazing! ) It worked for a while but I don't when it suddenly just can only get one track, only left channel, there is no infos came into right channel. No matter what i try on all the settings in the ML menu, I can't get that right channel back...

Can anyone help me figure this out?

Too me it almost sounds like it was recording both the boom and the on-recorder mics... but the levels of the signal are barely there in Audition or Soundtrack except the slate claps. One thing that is weird is that it was eating batteries for breakfast must have went through 20 batteries in 3 hours or so...

ANYWAYS...I need help not sure what to do the whole movie is ruined.

NOTE Oh and yeah I caught the mp3 thing after the 1st card dump- scolded the sound guy- even the 24 bit WAVS are the same state...