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Author Topic: TASCAM DR-100mkIII NEW Unreleased Recorder  (Read 38161 times)

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Offline rogs

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #195 on: March 06, 2018, 09:04:22 PM »
I believe you have to select one of the filter modes  - so there's no option to defeat all filter selections.....
The ADC/DAC chip is the AK4558, and there is quite a lot of detail on all the parameters listed in the data sheet here : https://www.akm.com/akm/en/file/datasheet/AK4558EN.pdf  (including the filter differences on pages 11 thru 15)......
Pretty 'techy' information though....probably easier to try out the different modes, and see if you can detect any difference.....
I've only used the default setting myself so far....

Offline ArchivalAudio

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #196 on: March 07, 2018, 12:30:58 AM »
I believe you have to select one of the filter modes  - so there's no option to defeat all filter selections.....
The ADC/DAC chip is the AK4558, and there is quite a lot of detail on all the parameters listed in the data sheet here : https://www.akm.com/akm/en/file/datasheet/AK4558EN.pdf  (including the filter differences on pages 11 thru 15)......
Pretty 'techy' information though....probably easier to try out the different modes, and see if you can detect any difference.....
I've only used the default setting myself so far....

Oh .... wow - thanks for this pdf... I'll try and decifer and interpet
Also noticing that
Quote
SHORT DELAY2
A SHORT DELAY type digital filter with a slow
roll-off that gently cuts signals outside the
audio band is used.
SHORT DELAY digital filters
These feature tonal qualities that are close to the original
sounds. The starts of sounds and the reverberations are
natural without any pre-echo in the impulse response.
might be the way to go if I understand the bold italic notation correctly.
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Offline DSatz

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #197 on: March 09, 2018, 10:52:09 PM »
There must ALWAYS be some kind of low-pass filtering whenever you convert analog audio to digital. Any significant remnant of signal energy (from whatever source, including noise and distortion) at or above 1/2 the sampling frequency will cause distortion that's potentially quite nasty-sounding, since it's completely unrelated harmonically to the original sound.

In the early days of professional digital audio (ca. 1979) the sampling rate for most of the available recording equipment was fixed at 44.1 kHz, and the filters cut off the high frequencies right at 20 kHz. The entire response "dropoff" (typically 60 dB or greater!) thus occurred in the very narrow range between 20 kHz and 22.05 kHz. This almost absurdly steep cutoff required extremely complex filter circuits, and they were implemented entirely in analog back then. Thus the filters were generally the weakest link in the audio "chain", with limited headroom, impulse response / group delay problems, plus a tendency to drift with temperature and the aging of their components. (Also, they were damned expensive.)

When recording equipment with higher sampling rates came along, for most people serious about audio quality, the main potential advantage was that they allowed the filters to be designed so as to cause less harm to signals at and below 20 kHz. That's what your menu of choices is about, and it may be worth paying some attention to those choices.

In some special applications (e.g. acoustical measurements using miniature models of an architectural space; some sound effects) there is a legitimate need to preserve signals above 20 kHz--but only because in those applications, after the recording has been made, the playback "clock" is slowed down so that those signals drop into the audible range.

--best regards
« Last Edit: March 09, 2018, 10:54:52 PM by DSatz »
music > microphones > a recorder of some sort

Offline Gutbucket

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #198 on: March 13, 2018, 04:30:09 PM »
The practical answer for live music recording is don't worry about it too much.  The default setting is probably your best bet.  What is the default BTW?  FIR1 I assume?

You may well not hear any difference with live music recordings.  Make some test recordings and analyze the results (by listening, and/or on the computer if you have that capability), but make sure your test scenario is exactly the same for all test recordings, as even tiny differences in the recordings are likely to overshadow any subtle differences between filter choices.

If forced to pick one and move on, I'd probably choose a slow roll-off, especially if I was recording at higher sampling rates where even the slow roll off begins well above the audible range.  If recording at 44.1 or 48kHz (which I do), I might compare fast and slow roll off and listen for very slight differences in the very highest frequency content, assuming you have young ears that actually can hear to 15Hkz or beyond, and all else being equal between the test recordings.  Record some jangling keys- a good source of HF and ultrasonic content.  Recording your stereo reduces variables, but may not have enough HF bandwidth for this kind of test.

Without testing, I probably just choose with FIR2.
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Offline ArchivalAudio

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #199 on: March 18, 2018, 04:42:26 PM »
The practical answer for live music recording is don't worry about it too much.  The default setting is probably your best bet.  What is the default BTW?  FIR1 I assume?

Without testing, I probably just choose with FIR2.
Thanks... yes default is choice number 1 or FIR1

I still don't know why I can or want to change these settings. I am not even sure I'd be able to tell the difference at 24/48 (which is my default) nor do I really want to run a series of test recordings to figure it out. However it's and interesting feature.
I obviously would like the most neutral and transparent  or unchanged setting. I have not even tried out the unit yet.
~ Archival Audio ~
Archiving Worthy Music
since 1986 & digitally since 1995

https://www.facebook.com/ArchivalAudio/

Main Mics: Milab VM-44 Links • Milab DC-196's (Matched  Pair)  • Line Audio CM3's
PreAmps:  Naiant LittleBox • Naiant [Milab VM44] TinyBox • Naiant PIPsqueak
Recorders: MixPre 10T •  Tascam DR-100 mkIII • Sony M-10 

macMini 3Ghz i7 16GB Ram 500GB SSD • MOTU UltraLite
Naiant MSH-2's •   TOA K1's • Beyer TG 153c's •  AT 853 (4.7kmod darktrain) • Countryman B3's (1 k mod)  + other assorted mics

Offline Jammin72

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #200 on: April 26, 2018, 05:34:49 PM »
How are folks powering this thing for a festival?  The internal battery and swapping some NiMH batteries every 2 hours?  Or just using any one of the ubiquitous 5V battery packs.  I like the former idea just for the battery meter but it seems quite tiresome.

Also... it seem the consensus is any PA style music is needing the 20dB pad for most condenser microphones, right?
Yes, but what do you HEAR?

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #202 on: April 27, 2018, 02:38:07 PM »
How are folks powering this thing for a festival?  The internal battery and swapping some NiMH batteries every 2 hours?  Or just using any one of the ubiquitous 5V battery packs.  I like the former idea just for the battery meter but it seems quite tiresome.

Also... it seem the consensus is any PA style music is needing the 20dB pad for most condenser microphones, right?

I've used it w/ phantom off, and got 5+ hours on the internal lithium only.  It never touched the AA's.  Impressive.  For a festie, a pair of Lithium AA's, coupled with the internal bat,  should power it all day.  Mind you, phantom off in this example. 

Offline Jammin72

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #203 on: April 27, 2018, 06:44:06 PM »
Right on, thanks for the insight. Folks Will be running power to CK63 caps using Niant PFA's.

I'm getting the unit on Monday so it will give me some time to see how the combination of batteries works out.

After killing my 4th 7.2 Tamiya in my FR-2LE (Totally my fault for leaving it connected after use.) I decided that I wasn't going to invest in any more RC Packs and go with a smaller unit that ran standard cells.

Guess I need to round up the accessories and get that listed in the YS.

So 20db Pad on for PA systems?
Yes, but what do you HEAR?

Offline cd2go

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #204 on: April 28, 2018, 10:14:17 AM »
So 20db Pad on for PA systems?

I have very sensitive mics and I definitely have to use the pad for loud club shows. Usually leaves 6dB or so headroom. I’ve never clipped but usually have the limiter and dual level mode on for safety. Try first with the pad and you’ll have a good feel right away if you need it. It’s a great deck; fantastic screen with every piece of info you need clearly displayed, and lots of customizable tidbits. Good luck!
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Offline Jammin72

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #205 on: April 28, 2018, 02:31:35 PM »
So 20db Pad on for PA systems?

I have very sensitive mics and I definitely have to use the pad for loud club shows. Usually leaves 6dB or so headroom. I’ve never clipped but usually have the limiter and dual level mode on for safety. Try first with the pad and you’ll have a good feel right away if you need it. It’s a great deck; fantastic screen with every piece of info you need clearly displayed, and lots of customizable tidbits. Good luck!

+T
Yes, but what do you HEAR?

Offline Jammin72

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #206 on: April 30, 2018, 06:40:08 PM »
Love the feel and size of this thing. It's amazing how small a truly competent all in one with XLR and phantom power has gotten.  Love the battery system for most situations.

FWIW  This case from Hermit Shell for the H4n pro fits it perfectly.





Yes, but what do you HEAR?

Offline rogs

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #207 on: May 01, 2018, 06:56:56 AM »
Thanks for the heads up on the Hermit Shell case....been looking for a case for a while.

Offline Jammin72

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Re: TASCAM DR-100mkIII NEW Unreleased Recorder
« Reply #208 on: May 07, 2018, 02:42:37 PM »
Thing worked like a champ.  I only ended up recording 6 acts but power swap worked perfectly and the levels are easy to monitor with the flashing LED's by the XLR inputs.  Ganged channels with a large rotary encoder makes level adjustment easy enough.  Also the pad is definitely a must. Was running the CK63's at around -10db or 10-11 o'clock on the visually rendered "knob".  For a quick up and go with a set of mics and not much post mixing intended it's a great little box.  About the only thing I would want to add for my usage pattern is back-lit controls but that's just being picky.

Yes, but what do you HEAR?

 

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