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Gear / Technical Help => Recording Gear => Topic started by: hammerhorror on October 16, 2014, 03:10:03 PM
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http://www.tascam.eu/en/dr-70d.html (http://www.tascam.eu/en/dr-70d.html)
-Compact, professional-grade audio recorder designed to be used in combination with a DSLR camera
-Uses an 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
-NE5532 operational amplifiers for even higher audio performance (also used on DA-3000)
-In addition to ordinary stereo recording, 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 for inputs 1–4
-Dual recording function allows two files to be recorded simultaneously at different levels
-Recording at 44.1/48/96 kHz, 16/24-bit, linear PCM (WAV format)
-Broadcast Wave Format (BWF) supported as WAV recording format
-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, allowing the input of video mics and other high-output mics
-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
-Auto recording function to start start and stop recording by input level
-A new file can be created during recording (manually or by file size)
-Self-timer function to start recording after a set period of time
-Jump-back function allows the last several seconds of the currently played file to be replayed again by simply pressing a button
-Selectable delay to eliminate time lags caused by differences in the distances of two input sources
-QUICK button allows easy access to various functions
-Mark function convenient for moving to specific locations
-Equalizers for playback, and level alignment function to enhance the perceived overall sound pressure
-File name format can be set to use a user-defined word or the date
-Resume function to memorize the playback position before the unit is turned off
-Line output and headphones output with individual level controls (3.5-mm jack)
-Dedicated remote control jack for use with RC-10 and RC-3F (sold separately)
-Hold switch to prevent accidental operation
-Low-noise buttons
-128 x 64 pixel LC display with backlight
-USB 2.0 port
-Stand adapter (¼ inch) on bottom side to attach the unit to a tripod
-DSLR bracket for easy camera attachment and removal
-Hot shoe mount (accessible when not using the DSLR bracket)
-Handles on the front left and right sides protect the screen and can be used to attach a shoulder belt
-Operates on four AA batteries, an AC adapter (sold separately: TASCAM PS-P515U), external battery pack (sold separately: TASCAM BP-6AA) or USB bus power
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Now that is a nice looking little 4 channel recorder. Any distinct difference between this and the -60D besides form? The 60D only has two preamps, right? If it's a somewhat similar price point, that will be very attractive.
According to this Japanese website it'll be ~$310 (33000 yen before tax).
http://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=/search%3Fq%3Dtascam%2BDR-70D%26es_sm%3D119&rurl=translate.google.com&sl=ja&u=http://www.system5.jp/products/detail57344.html&usg=ALkJrhhCETkRUY75a55sCY7MKJZaD39MQw
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Now that is a nice looking little 4 channel recorder. Any distinct difference between this and the -60D besides form? The 60D only has two preamps, right? If it's a somewhat similar price point, that will be very attractive.
60D only has two XLR inputs and no onboard mics. I might have to sell my NIB third 60D and then wait for the price point on this one to drop.
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Can it record 4 channel broadcast wave files? I'm not sure from the details. It seems it mixes all to stereo files.
If not it would be a great little recorder for the Soundfield SPS200 too.
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Can it record 4 channel broadcast wave files? I'm not sure from the details. It seems it mixes all to stereo files.
If not it would be a great little recorder for the Soundfield SPS200 too.
It records 4 channels with Broadcast Wav support. If it's like other Tascam 4 tracks it'll be two Stereo Wav files, but that's easy to fix in post processing.
The mixer function (with delay compensation) is for recording a Stereo mix straight to the DSLR via 1/8" line out. (would also be handy for a livestreaming rig with the Teradek Vidiu)
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Looks like a nice step up from the 60D!! I don't like the form factor of the 60D. To bad they didn't include a digi in and out.
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This seems to have a lot of the upgrades that seemed conspicuously missing from the DR-60d mkII. S/PDIF in would have been nice but otherwise seems pretty nice.
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You have to be impressed with Tascam. They keep developing new recorders, and seem to take feedback and suggestions each time they come out with something new.
I didn't see much pricing info, but did see someone mention that it was listed at 299 Euros on a German site. If the street price in the US is $300, that would be pretty awesome, but it's likely to be a bit more I'd guess.
I saw this regarding power:
"Operates on four AA batteries, an AC adapter (sold separately: TASCAM PS-P515U), external battery pack (sold separately: TASCAM BP-6AA) or USB bus power"
And I also noticed that it has 24 or 48v phantom, so if you can get by with the 24v, that will save some battery life I'd imagine.
It's a very promising deck if it proves to be reliable.
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I guess the plan to introduce this explains the price drops of the 60D. However, it does seem that they are crowding their own market.
The big question is - battery life! (Unless I've missed the answer above in a quick read).
This must be one of the smallest 4 x XLR recorders available, due to the configuration of three on one side and the fourth on the other. However, the small size means the built in mics are rather close together for omnis, I would have thought, in terms of getting a good stereo image.
In the sort of concert recording for radio that I used to do, the normal practice was to have a second recorder running as backup, and like the 60D, the input and output for camera will serve very nicely as in/out to backup.
In the last few months there seems to be a staggering move in price/performance with all sorts of recording gear, eg the kind of multichannel remote controlled recorders available from Mackie and others for a couple of grand.
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I don't like the 4th ch on the other side and have no need for internal mics
Much nicer form factor and goes over 32gb cards. Is nice to have 4 xlr though if that's needed vs 2/mini
Otherwise features seem to be similar
You have to assume battery life will not be as good as the 60 without a major design change since 4 xlr and phantom has to drain more then 2/mini
Edit to note batteries and sd card are on the bottom and although prob doesn't effect users here much, will not allow changing when attached to a tripod like the 60d
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I don't really understand Tascam's marketing in upgrading the 60d to the MkII and then releasing the 70d. They look like overlapping products aimed at the same group of DSLR recorders/buyers.
The thinner 70d case and the tilted view screen will be liked by many.
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The price isn't too bad, but due in until 10th November.
http://www.scan.co.uk/products/tascam-dr-70d-4-channel-stereo-audio-recorder-for-dslr-cameras
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The front even looks like a black SD... and it looks small.
I want one if the 300/400€ price sticks... how good could the preamps be? Does the 60D have good preamps, or average, at least clean?
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The front even looks like a black SD... and it looks small.
I want one if the 300/400€ price sticks... how good could the preamps be? Does the 60D have good preamps, or average, at least clean?
I'm impressed enough with the 60d pres to have dropped my naiant box in the middle
I did tests of...
Mics > naiant lb/tb > m10
Mics > lb/tb > dr-60d
Mics > dr-60d
And couldn't notice much difference in them. Since then I have been running...
Ck61 > tb > m10
Ck63 > dr-60d
Of course there are slight differences because of the caps but nothing to make me worried about the pres
Edit here is one example, not sure if it's a good example or not but it's the one I had on archive https://archive.org/details/kungfu2014-04-12.ck63.flac16
https://archive.org/details/kungfu2014-04-12.ck61.flac16
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I don't like the 4th ch on the other side
That is very weird. If space is an issue, they should've just gone with some sort of breakout cable to keep all 4 XLR's together instead of putting that 4th channel on the other side.
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Just noticed, upon closer look the 70 has combined camera/line out vs 60 with individual
70 also lacks camera/line out volume(level) adjust, only headphone. That's a big lose for me as I am running to a camcorder at times
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Not thrilled with channel 4 on the other side and the tilt screen seems like it may be a PITA in a gear bag.
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The problem with the gear bag might be finding the little thing in there.
It's just possible that level to camera is in software rather than a knob.
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Tempting. I'm curious to see what the reviews are of this once it gets out in to the wild. Tascam ALMOST got it right. They should've left the 1/8" input as Ch. 3 and 4 instead of bumping it to Ch. 1 and 2. This will mean cables spread apart when running a TinyBox with actives and a soundboard feed via XLR on 3 and 4. If things are what they should be, I might have to sell off my 2D and get one of these for 4-channel use because having independent levels is so much easier.
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The mark function on the 60D was operated by pressing the rotary selector, with quite a mechanical "click", which was a pity as you normally use the mark function while the recording is running (with risk of getting that click on the recording). There's no "mark" lettering in the photos but I bet that the method on this model will be the same, unfortunately.
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They may have put one of the XLRs on the opposite side from the other XLRs as a means of balancing out the weight of XLR cables when the unit is hung around someone's neck especially if they are only using two channels.
The whole unit seems aimed at the DSLR camera market.
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To bad they didn't include a digi in and out.
Bingo. That was my primary wishlist item for the -60D. The two additional XLR inputs are very nice, but I would gladly sacrifice the onboard mics for S/PDIF.
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I can't seem to find in the online info any indication of the physical dimensions or weight of the D70. Does anyone know?
Jeff
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Looks cool. Marking thread.
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Boy, if this can perform the Dual function on 4 mic inputs simultaneously (4 stereo pairs to the card) this thing will be a win for me. I really enjoy that function so I can set levels and
stand in front of the mics talking enjoy the music with worrying about clipping.
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The DR-60D can only record the Dual function on up to two channels, not two pairs.
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The DR-60D can only record the Dual function on up to two channels, not two pairs.
yeah it's not going to do dual recording in two pairs, otherwise it would be an 8 ch recorder
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Not thrilled with channel 4 on the other side and the tilt screen seems like it may be a PITA in a gear bag.
Tascam HD-P2 has a similar tilt. That feature was never a big deal for us P2 owners. I wouldn't rule it out for that.
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Not thrilled with channel 4 on the other side and the tilt screen seems like it may be a PITA in a gear bag.
Tascam HD-P2 has a similar tilt. That feature was never a big deal for us P2 owners. I wouldn't rule it out for that.
As does the Edirol/Roland R-44, and I've had no problems whatsoever viewing its screen in my gearbag. YMMV.
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Now available at Adorama for $299.99.
http://www.adorama.com/TSDR70D.html?emailprice=t&j=Email110114Pro-Tascam&utm_term=Other&utm_medium=Email&utm_campaign=Email110114Pro-Tascam&utm_source=RSYS
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Also showing up at B&H, same price. Available Nov 10... 8)
http://www.bhphotovideo.com/c/product/1086798-REG/tascam_dr_70d_4_channel_audio_recording.html
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Looks like Adorama has it immediately available, or at least there is no indication of any wait when I added it to my cart. B&H must have just put it on their site. It wasn't there earlier this morning when I looked. Seems like the "street" price is $299.99 in the US, at least until they run a promotion.
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A quick look at B&H
http://www.youtube.com/watch?v=MKGLggs3FzE
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Unless you want four xlr or internal mics, I would get the 60 for half price
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The 60d is back at $199 and the 70d is priced at $299 so there's $100 difference right now. The extra $100 gets two more phantom powered XLRs with individual channel gain, a pair of built in mics, and about half the size. THe 60d alkaline battery life spec is 4:30 hours with phantom power off versus 6:00 for the 70d. There's no phantom power battery life rating that I see in the 70d specs.
I like the layout of the 70d. I wonder if Tascam improved the preamps in the 60dMkII to use up what's left of its production run or whether the 60d and 70d will be around together for a while. I don't foresee the 60d staying in production with the 70d around.
I'm wondering if the $299 is an introductory price that might go up later?
The M10 is at $199 right now and apparently no one knows what its replacement will be.
Then you have the Tascam Dr22wl with its wifi controls at $149.
Interesting choices to make for anyone looking to buy a recorder right now.
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And now, on eBay...
http://www.ebay.com/itm/Tascam-DR-70D-DSLR-4-Channel-Audio-Recorder-/371179629236?pt=US_Digital_DJ_Controllers&hash=item566c07aab4
EDIT: Looks like this is the Adorama store...
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The 60d is back at $199 and the 70d is priced at $299 so there's $100 difference right now. The extra $100 gets two more phantom powered XLRs with individual channel gain, a pair of built in mics, and about half the size. THe 60d alkaline battery life spec is 4:30 hours with phantom power off versus 6:00 for the 70d. There's no phantom power battery life rating that I see in the 70d specs.
I like the layout of the 70d. I wonder if Tascam improved the preamps in the 60dMkII to use up what's left of its production run or whether the 60d and 70d will be around together for a while. I don't foresee the 60d staying in production with the 70d around.
I'm wondering if the $299 is an introductory price that might go up later?
The M10 is at $199 right now and apparently no one knows what its replacement will be.
Then you have the Tascam Dr22wl with its wifi controls at $149.
Interesting choices to make for anyone looking to buy a recorder right now.
if my calculations are right, using the run times of non 48v, the 70d 48v should be 3.5 hrs vs 2.5
The 60d is smaller overall then the 70d (1.44 cubic inch difference) but the layout could sway people one way or the other.
As for the pres, I personally replaced one of my m10 with the 60d so if the 60dmkii or 70 are better it will be a treat for people.
A nice upgrade the 70d has IMO is the ability to use 64gb plus cards but the lack of "volume adjust" knobs on line out and camera out is a big deal for people like me who are feeding camcorders/dslr or other devices.
Whichever one fits a persons needs though I don't think they will be disappointed with the sound
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SDXC media goes up to 128gb. I had a 128gb SDXC card in my 744. I know lots of people might not see this as a big deal, but if you're a festival goer, it's really nice to not have to be concerned with changing your media out all weekend long. I see this as a pretty big difference between this unit and the 60D along with the four XLRs.
Obviously, if you record four channels at the highest bitrate, it's nice to have big cards in that case as well.
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I just ordered one from Adorama. We'll see if they actually have them in stock and ready to ship like they say they do.
Will post an update in this thread once I have it in hand.
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http://tascam.com/news/display/2277/
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I cannot find a PDF manual for the DR-70D. Of course I looked at all relevant pages. Anybody?
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Now showing on the TASCAM USA site...
http://tascam.com/product/dr-70d/
No manual yet...
Any comments on "5532 op amps"?
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The 60d is back at $199 and the 70d is priced at $299 so there's $100 difference right now. The extra $100 gets two more phantom powered XLRs with individual channel gain, a pair of built in mics, and about half the size. THe 60d alkaline battery life spec is 4:30 hours with phantom power off versus 6:00 for the 70d. There's no phantom power battery life rating that I see in the 70d specs.
I like the layout of the 70d. I wonder if Tascam improved the preamps in the 60dMkII to use up what's left of its production run or whether the 60d and 70d will be around together for a while. I don't foresee the 60d staying in production with the 70d around.
I'm wondering if the $299 is an introductory price that might go up later?
The M10 is at $199 right now and apparently no one knows what its replacement will be.
Then you have the Tascam Dr22wl with its wifi controls at $149.
Interesting choices to make for anyone looking to buy a recorder right now.
if my calculations are right, using the run times of non 48v, the 70d 48v should be 3.5 hrs vs 2.5
The 60d is smaller overall then the 70d (1.44 cubic inch difference) but the layout could sway people one way or the other.
As for the pres, I personally replaced one of my m10 with the 60d so if the 60dmkii or 70 are better it will be a treat for people.
A nice upgrade the 70d has IMO is the ability to use 64gb plus cards but the lack of "volume adjust" knobs on line out and camera out is a big deal for people like me who are feeding camcorders/dslr or other devices.
Whichever one fits a persons needs though I don't think they will be disappointed with the sound
for the win, it's good!
Ohhh this isn't good IMO, they got rid of the medium gain setting according to the specs
The 60 had low (11db) med (36db) high (52db)
60mkii has low (11) med (36) high (52) high plus (63)
70 has low (11) high (52) high plus (63)
Hope that's a typo and there is a medium
Other differences...70 followed by 60
Max input level is 20dBu vs 24 on the 60d
Camera out standard -40/-50dVm and max out +24/-30 :o huge difference, typo??
Phones max out 20mW vs 50
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That's a keen observation.
Tascam seems to be releasing things in hurried bits with its new recorders. The full app for the DR22wl is apparently still in progress. The manual for the 70d apparently got put up after the recorder was released. It seemed to me that for a while their website didn't have all their models listed even after they had released them. I guess they wanted to get them to market as soon as possible while still ironing out some details.
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Looks like its available in Europe also through Thomann (Germany) online store, it carry's the 17 November date.
Also 299€
http://www.thomann.de/pt/tascam_dr_70d.htm
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Anyone have one of these in hand??
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Anyone have one of these in hand??
I have one. Ordered it from Adorama and it arrived the next day!
I haven't had a ton of time to play with it yet, but may be able to snap some photos and/or run some tests today.
Anything specific you'd like to see or know?
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Wondering how the preamps sound and size comparisons to other recorders. Thanks man
Anyone have one of these in hand??
I have one. Ordered it from Adorama and it arrived the next day!
I haven't had a ton of time to play with it yet, but may be able to snap some photos and/or run some tests today.
Anything specific you'd like to see or know?
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Here are some photos with a Sony M10 recorder as a comparison.
(http://i58.photobucket.com/albums/g276/Jamosb78/148BEE65-5FDB-4068-993B-060BFF2A08AA_zpsm3uvih3w.jpg) (http://s58.photobucket.com/user/Jamosb78/media/148BEE65-5FDB-4068-993B-060BFF2A08AA_zpsm3uvih3w.jpg.html)
(http://i58.photobucket.com/albums/g276/Jamosb78/3B8B30BC-14FC-41D2-83CE-708505504BB6_zpsegum2prw.jpg) (http://s58.photobucket.com/user/Jamosb78/media/3B8B30BC-14FC-41D2-83CE-708505504BB6_zpsegum2prw.jpg.html)
I do not really like the battery door design. The plastic cover pops off, but is held to the recorder body by a rubber/plastic keeper that you have to bend & stretch to then access the battery compartment door. I would guess that this will wear out over time, but who knows. I wish there were a rechargeable li-ion battery solution that could just live in the compartment. That would make opening this door way less frequent. Of course if you use an external battery that would also help.
Here are some photos of it:
(http://i58.photobucket.com/albums/g276/Jamosb78/B9944E5D-81E3-46BD-95EC-5170D49C7A05_zpsixkio7jo.jpg) (http://s58.photobucket.com/user/Jamosb78/media/B9944E5D-81E3-46BD-95EC-5170D49C7A05_zpsixkio7jo.jpg.html)
(http://i58.photobucket.com/albums/g276/Jamosb78/FB243D5E-2191-4499-9F35-ED4768D2C365_zpsjoadkble.jpg) (http://s58.photobucket.com/user/Jamosb78/media/FB243D5E-2191-4499-9F35-ED4768D2C365_zpsjoadkble.jpg.html)
As far as sound quality, I think the pres sound very good! S/N ratio seems great, as there is very little hiss or noise even when the preamps are cranked all the way.
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^^ Thanks for the photos!! It is smaller than I thought. Looks like a nice 4 channel option and I like that is has 4 pres.
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I've lost 20 pounds, this should fit down the front of my pants just fine.
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I've lost 20 pounds, this should fit down the front of my pants just fine.
just slide your belt through the red handles haha
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Will fit in a man purse. :P
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A presentation video from Teac/tascam, the thing is really small... in Japanese...
https://www.youtube.com/watch?v=BXm-bISojdE
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So did they really omit the medium gain setting on this unit and only have lo, hi, and hi+???
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So did they really omit the medium gain setting on this unit and only have lo, hi, and hi+???
yes, page 14 of the (crappy by comparison dr-60d) manual http://tascam.com/content/downloads/products/867/dr-70d_om_vb.pdf
edit
although i like the form factor better
the drops from the 60 make me glad I have the 60
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Will fit in a man purse. :P
it's called a Murse.... :nightfevah:
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Jamos, thank you for the info and photos. Is the gain of the inputs shown in numbers on the display when you move the input knobs? The reason I ask is to get equal input input levels for all four inputs easily. My idea is to use the DR-70D as a lightweight recorder for the Soundfield SPS-200.
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Anyone know how much of a jump up in quality the new op amps are from the DR-60DmkII? Is it significant or not so much?
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I'm really looking at this DR-70D but I'm worried about the gain range. Has anyone field tested one with condenser mics to see if the lack of a medium gain setting is going to be a big problem? That one isolated XLR is kind of funky, but not a deal breaker for me. I do like the independent gain controls too. Hopefully the headphone amp is better than the one in the DR-680. The 680's headphone section is awfully noisy.
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Jamos, thank you for the info and photos. Is the gain of the inputs shown in numbers on the display when you move the input knobs? The reason I ask is to get equal input input levels for all four inputs easily. My idea is to use the DR-70D as a lightweight recorder for the Soundfield SPS-200.
Hi - you're welcome for the photos.
I just tested it, and it looks like there is no indication on the display that references the level of the input knobs. You'd think this is something they could implement in a future firmware version, since it's been well documented that the gain is actually digital gain, not analog.
It looks like your best bet would be to calibrate the knobs with a tone before actually recording.
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Fwiw on my 60d I have used low and medium about a 25/75 percent split
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It looks like your best bet would be to calibrate the knobs with a tone before actually recording.
Thank you again. If there is no readout on the display or other possibilities to get easily the same input gain for all channels the DR-70D is out of consideration. While out recording with the SPS200 I must be able to change the levels easily. What a letdown. Otherwise it seems to be a fine recorder.
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It looks like your best bet would be to calibrate the knobs with a tone before actually recording.
Thank you again. If there is no readout on the display or other possibilities to get easily the same input gain for all channels the DR-70D is out of consideration. While out recording with the SPS200 I must be able to change the levels easily. What a letdown. Otherwise it seems to be a fine recorder.
there is a max peak reading in number format, bottom right corner area
The meter has has an arrow, which I believe is at -12db (on the 60d it is confirmed -12db)
But you have to just line the meters up by eye if you want them matched
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if open taping, I'd plug in headphones to check levels and desired balances.
These little adjustment knobs are not the easiest things to fine tune, IMO.
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Has anyone experimented with mounting these smaller recorders on their mic stand?
Im thinking something like this might work
http://www.bhphotovideo.com/c/product/1048124-REG/tether_tools_rs466_rock_solid_camera_platform.html
This recorder seems perfectly suited for this orientation.
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if open taping, I'd plug in headphones to check levels and desired balances.
These little adjustment knobs are not the easiest things to fine tune, IMO.
Damn, that's a deal breaker for me. I lneed to be able to see what gain setting I'm at...
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if open taping, I'd plug in headphones to check levels and desired balances.
These little adjustment knobs are not the easiest things to fine tune, IMO.
Damn, that's a deal breaker for me. I lneed to be able to see what gain setting I'm at...
I picked one of these units up Chuck. Should be here in a few days. The unit does not show numbers but the screen is pretty easy for me to determine levels. The little black triangle is at -16dB and there are dashes for every dB up to 0.
As noted, there are no dB numbers listed on the screen...but I imagine that could be addressed in a firmware update as mentioned before in this thread. The pres are better than the DR-680 which used the RC/NJM4580. The new unit uses the NE5532.
I can give detailed feedback here once I get some testing done.
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My issue is that I need to know what my starting levels are. I keep a record of my starting levels for all the venues and bands I record. Just to give me a good place to start out. It won't work for me if there are no number indications of what gain level I'm at to start.
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Maybe what I said is misleading. I suspect what is displayed on the 70d is very similar to what is displayed on the 60d and the 680. That being said, I recently tried setting my levels visually on my 60d and then listened on headphones which caused me to make further adjustments with the end product being about what I wanted.
About the mounting, I don't see mounting any recorder to the top of a mic stand as practical. What I have found useful is to mount the 60d to a piece of aluminum angle attached to a superclamp that I can position up or down on a light stand used as a microphone stand. If I need the camera to shoot over people's heads, I put it further up the stand. If I'm in a spot where I can mount the camera lower where I'm sitting, then I can mount it lower.
Still experimenting, but I found a cell phone battery case that fits the Ravpower 10400 mah battery I'm using, and will probably velcro it to the aluminum angle beside the 60d.
The 70d would be more flexible than the 60d in using 4 xlr mics, but anything involving phantom power is probably going to practically require an external battery pack for our purposes.
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Here's a photo of what the screen looks like when meters are going. It shows the max value, which is constantly changing as the max levels change.
It would be nice if they could improve the metering a bit, but it's certainly useable as is.
(http://i58.photobucket.com/albums/g276/Jamosb78/23910A3A-7873-4AF1-A744-A84A6E12579C_zpshqkutgrs.jpg) (http://s58.photobucket.com/user/Jamosb78/media/23910A3A-7873-4AF1-A744-A84A6E12579C_zpshqkutgrs.jpg.html)
Regarding the mounting of the recorder to your stand --
that should be easily done, I would recommend a clamp & whatever 5/8" > 1/4" adapters you need.
As noted, there are no dB numbers listed on the screen...but I imagine that could be addressed in a firmware update as mentioned before in this thread. The pres are better than the DR-680 which used the RC/NJM4580. The new unit uses the NE5532.
I can give detailed feedback here once I get some testing done.
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No numbers, but it looks like the arrow is -12, with hash marks for -6 and -3 after it.
I'd bet that the engineers decideded that numbers would clutter the low res display.
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Hi Jamos: What I'm wondering is if there is any numeric representation of where the knobs are turned up to. For example on the DR-680 there is the meter, but when you are adjusting the levels there is a numeric value associated with every step along the gain knobs range. With that in mind, you can go to a show and know that you can use 21 on the gain pots as a starting place for the levels. There don't appear to be any numbers listed on the chassis around the knobs and since the gain is digital it would be good if you could see that gain step you are at when you use the knobs.
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Hi Jamos: What I'm wondering is if there is any numeric representation of where the knobs are turned up to. For example on the DR-680 there is the meter, but when you are adjusting the levels there is a numeric value associated with every step along the gain knobs range. With that in mind, you can go to a show and know that you can use 21 on the gain pots as a starting place for the levels. There don't appear to be any numbers listed on the chassis around the knobs and since the gain is digital it would be good if you could see that gain step you are at when you use the knobs.
i understand an actual number would be good but why not just note that the knob was at (approx) 11 o'clock or whatever,
its going to get you close even though not exact.
i wouldn't say its a reason to bypass purchasing but thats just my opinion.
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LOW setting - Pot gain range is -21dB to +11dB
HIGH setting - Pot gain range is +19dB to +51dB
HIGH + setting Pot gain range is +52dB to +63dB
That might help you gauge it a little easier Chuck?!?!
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LOW setting - Pot gain range is -21dB to +11dB
HIGH setting - Pot gain range is +19dB to +51dB
HIGH + setting Pot gain range is +52dB to +63dB
That might help you gauge it a little easier Chuck?!?!
it is interesting to me that the ranges are so vast.
I would think it would make sense for each one to cover the same amount of range, not one cover 32, 42, and the last 11
but maybe thats where the "mid" went. mid on the 60d might have broke down low/high and been more evenly distributed.
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Nah, sorry guys. I'm not explaining very well. I just want a numerical representation of where the gain knob is when you turn them. I do see that the there is a numerical representation of where the panning is. I figured it would be the same with the gain knobs. The DR-680 has all that. I'm completely happy still running the DR-680. The 70D is interesting to me because it's so small and has 4 phantom power inputs. I'll hold off until something better comes along.
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Nah, sorry guys. I'm not explaining very well. I just want a numerical representation of where the gain knob is when you turn them. I do see that the there is a numerical representation of where the panning is. I figured it would be the same with the gain knobs. The DR-680 has all that. I'm completely happy still running the DR-680. The 70D is interesting to me because it's so small and has 4 phantom power inputs. I'll hold off until something better comes along.
+1 and exactly what I meant. For precise work this is a must. Ganging input gain controls would be another option.
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Some sound tests, anyone? Noise on the preamps using 48v condenser mics and quality of the onboard ominis?
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LOW setting - Pot gain range is -21dB to +11dB
HIGH setting - Pot gain range is +19dB to +51dB
HIGH + setting Pot gain range is +52dB to +63dB
That might help you gauge it a little easier Chuck?!?!
it is interesting to me that the ranges are so vast.
I would think it would make sense for each one to cover the same amount of range, not one cover 32, 42, and the last 11
but maybe thats where the "mid" went. mid on the 60d might have broke down low/high and been more evenly distributed.
Lo and hi both have gain ranges of 32dB, hi+ is 11dB
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LOW setting - Pot gain range is -21dB to +11dB
HIGH setting - Pot gain range is +19dB to +51dB
HIGH + setting Pot gain range is +52dB to +63dB
That might help you gauge it a little easier Chuck?!?!
it is interesting to me that the ranges are so vast.
I would think it would make sense for each one to cover the same amount of range, not one cover 32, 42, and the last 11
but maybe thats where the "mid" went. mid on the 60d might have broke down low/high and been more evenly distributed.
Lo and hi both have gain ranges of 32dB, hi+ is 11dB
yeah I was just testing to see who actually reads here ;)
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LOW setting - Pot gain range is -21dB to +11dB
HIGH setting - Pot gain range is +19dB to +51dB
HIGH + setting Pot gain range is +52dB to +63dB
That might help you gauge it a little easier Chuck?!?!
it is interesting to me that the ranges are so vast.
I would think it would make sense for each one to cover the same amount of range, not one cover 32, 42, and the last 11
but maybe thats where the "mid" went. mid on the 60d might have broke down low/high and been more evenly distributed.
Lo and hi both have gain ranges of 32dB, hi+ is 11dB
yeah I was just testing to see who actually reads here ;)
I figured as much
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On the DR-22 you see, on the display, 0-90 for level (arbitrary values but constant) together with a dB number relative to where you started. So if you are peaking regularly to -18dB and you'd rather be going to -12, you turn the rotary encoder until the display shows +6dB (relative to where you were). Seems like a good system and one they could probably implement on the DR-70 in firmware upgrade.
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I don't see a slot for the SD card though? Unless it's on the top? Or am I completely blind?
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I don't see a slot for the SD card though? Unless it's on the top? Or am I completely blind?
it is in between the built in mics with the batteries
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I wonder how much of the internals may be descended from the even more compact DR2d?
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Has anyone experimented with mounting these smaller recorders on their mic stand?
Im thinking something like this might work
http://www.bhphotovideo.com/c/product/1048124-REG/tether_tools_rs466_rock_solid_camera_platform.html
This recorder seems perfectly suited for this orientation.
Not the best pic, but here's my DR-60D mounted to my stand:
(http://i.imgur.com/EiWkUzj.jpg)
Using: http://www.bhphotovideo.com/c/product/400146-REG/On_Stage_MSA_9508_7_Boom_with_Clutch.html
and: http://www.bhphotovideo.com/c/product/576064-REG/On_Stage_CM01_CM01_Camera_and.html
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Has anyone experimented with mounting these smaller recorders on their mic stand?
Im thinking something like this might work
http://www.bhphotovideo.com/c/product/1048124-REG/tether_tools_rs466_rock_solid_camera_platform.html
This recorder seems perfectly suited for this orientation.
Not the best pic, but here's my DR-60D mounted to my stand:
(http://i.imgur.com/EiWkUzj.jpg)
Using: http://www.bhphotovideo.com/c/product/400146-REG/On_Stage_MSA_9508_7_Boom_with_Clutch.html
and: http://www.bhphotovideo.com/c/product/576064-REG/On_Stage_CM01_CM01_Camera_and.html
thats pretty cool
Would be good for mounting a camera too
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I don't see a slot for the SD card though? Unless it's on the top? Or am I completely blind?
it is in between the built in mics with the batteries
Thanks a lot willndmb ;) I thought I was going insane because I didn't see a slot for the SD card lol 8)
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I am truly impressed with this recorder!!! I just wish it had the option to have 1/8" mini inputs too, like the 60d has. But definitely not a deal breaker IMO!!! I could easily have the correct cabling made to run my vms02ib and a littlebox into this puppy 8) But I rarely do a matrix, so I'm going to have to hear some recordings with this before I keep my m10s out of my chain!!! ;)
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I am truly impressed with this recorder!!! I just wish it had the option to have 1/8" mini inputs too...
Pretty sure it does have 1/8" inputs...
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I am truly impressed with this recorder!!! I just wish it had the option to have 1/8" mini inputs too...
Pretty sure it does have 1/8" inputs...
1 set, channels 1/2 which means if you are going four channel the xlr are split side to side
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Looks promising and a good price. I wonder how long tit will run on 4 AA.
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Looks promising and a good price. I wonder how long tit will run on 4 AA.
http://taperssection.com/index.php?topic=170230.msg2114677#msg2114677
That's 2 channel 16/44.1
4 would be less, ie most people will need external usb power
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http://www.tascam.eu/en/dr-70d.html
I think it's sort of interesting that Tascam appears to be publishing longer run times for the 70d than the 60d without phantom power, but running 4 channels of phantom power would probably suck 4 AA's dry pretty quickly. I don't see a published spec at the link on battery life on phantom power which is also interesting.
The member who actually has a 70d---what does it sound like and how long does it run on 4 channels of 48v phantom? Inquiring minds cannot sleep until these questions are resolved.
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2 channels at 48v phantom on alkaline a last 3 1/2 hours
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2 channels at 48v phantom on alkaline a last 3 1/2 hours
What is the total current draw of the mics used for this test?
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2 channels at 48v phantom on alkaline a last 3 1/2 hours
What is the total current draw of the mics used for this test?
That is the quote in the reference manual.
My unit is due to arrive on Tuesday so I can do some in depth testing then. I know there is one other who already has one on here. Just let me know what you guys need to know and I can do some testing once it arrives. The in-laws are in town so I will have to lock myself in my office anyway ;D
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That appears to be the spec on tascam us, but oddly not shown on the link I posted. 3.5 hrs of phantom power seems pretty decent.
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Does anyone have this recorder yet? I am curious to hear some feedback.
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Mine will be here this week and I will do a boatload of tests once received
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No mention made of if the unit does auto saving? This was a big pain in the ass on the 680, of you lost power during recording you lost the file. Recovery was iffy at best and Tascam did not help with any kind of support for recovery. Dos not seem like a big deal unit you lose power ehther with batteries going dead or cord unplugged .
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No mention made of if the unit does auto saving? This was a big pain in the ass on the 680, of you lost power during recording you lost the file. Recovery was iffy at best and Tascam did not help with any kind of support for recovery. Dos not seem like a big deal unit you lose power ehther with batteries going dead or cord unplugged .
Direct answer from Tascam regarding your concern:
After the DR-680, we fixed all our devices to be tuned to be
more sensitive to the battery voltage, and the recording is
automatically stopped when the battery goes too low.
If you keep AAs in, and power from a USB power pack, you
get a built in UPS functionality as well - it seamlessly
switches over.
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No mention made of if the unit does auto saving? This was a big pain in the ass on the 680, of you lost power during recording you lost the file. Recovery was iffy at best and Tascam did not help with any kind of support for recovery. Dos not seem like a big deal unit you lose power ehther with batteries going dead or cord unplugged .
Direct answer from Tascam regarding your concern:
After the DR-680, we fixed all our devices to be tuned to be
more sensitive to the battery voltage, and the recording is
automatically stopped when the battery goes too low.
If you keep AAs in, and power from a USB power pack, you
get a built in UPS functionality as well - it seamlessly
switches over.
So what happens if there is an abrupt loss of power IE: a powercord being unplugged? auto saved or not? That functions well ofr a gradual decrease in power. Adn please don't say keep batteries in it. I get that but we are talking what if's here. The loss of files was a HUGE bite in the ass when it happend mostly because of the relative inability to recover them
PSI got no horse in this race but it ended up being a real sore spot for me with Tascam and their support, so just a cuatinary tale
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No mention made of if the unit does auto saving? This was a big pain in the ass on the 680, of you lost power during recording you lost the file. Recovery was iffy at best and Tascam did not help with any kind of support for recovery. Dos not seem like a big deal unit you lose power ehther with batteries going dead or cord unplugged .
Direct answer from Tascam regarding your concern:
After the DR-680, we fixed all our devices to be tuned to be
more sensitive to the battery voltage, and the recording is
automatically stopped when the battery goes too low.
If you keep AAs in, and power from a USB power pack, you
get a built in UPS functionality as well - it seamlessly
switches over.
So what happens if there is an abrupt loss of power IE: a powercord being unplugged? auto saved or not? That functions well ofr a gradual decrease in power. Adn please don't say keep batteries in it. I get that but we are talking what if's here. The loss of files was a HUGE bite in the ass when it happend mostly because of the relative inability to recover them
Since you bring this nuance up all the time...what decks DO "auto-save"?
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Having a set of batteries installed as back up doesn't seem like a big deal on the off chance you have operator error with your external battery. If anything, I think it is nice of Tascam to offer a seamless switch over to back up without loss of data.
I will do extensive testing soon
Will also be running it 4 channel this Sunday for Dead winter Carpenters! :suds:
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No mention made of if the unit does auto saving? This was a big pain in the ass on the 680, of you lost power during recording you lost the file. Recovery was iffy at best and Tascam did not help with any kind of support for recovery. Dos not seem like a big deal unit you lose power ehther with batteries going dead or cord unplugged .
Direct answer from Tascam regarding your concern:
After the DR-680, we fixed all our devices to be tuned to be
more sensitive to the battery voltage, and the recording is
automatically stopped when the battery goes too low.
If you keep AAs in, and power from a USB power pack, you
get a built in UPS functionality as well - it seamlessly
switches over.
So what happens if there is an abrupt loss of power IE: a powercord being unplugged? auto saved or not? That functions well ofr a gradual decrease in power. Adn please don't say keep batteries in it. I get that but we are talking what if's here. The loss of files was a HUGE bite in the ass when it happend mostly because of the relative inability to recover them
Since you bring this nuance up all the time...what decks DO "auto-save"?
Pretty sure my Fostex FR2LE would do this....or it wrote the file every so often and you didn't lose the whole recording like you will with the DR680 W/O Double A's as backup
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Since you bring this nuance up all the time...what decks DO "auto-save"?
Sony PCM-D50. I was running on A/C power at a festival. I forgot to put the batteries in as a back up. Someone unplugged me and the file was saved up to that moment as far as I could tell. I was running four other channels as well, so it wasn't a big deal that day.
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Since you bring this nuance up all the time...what decks DO "auto-save"?
My Marantz PMD-661 saves with internals, never tried with external power.
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The HD-P2 has auto save as did the edirol/roland R-44
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I ordered
RAVPower® Element 10400mAh External Battery USB Portable Charger . Lets hope it works good with the recorder.
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In the good old days of reel to reel, sudden loss of power could be a major worry too - particularly when winding the tape at high speed at the end of the gig and the caretaker pulled out the plug...
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as you new 70d owners are testing, I'd be interested in your thoughts on how well it works in turning on phantom power to individual channels and controlling audio levels going out to a camera. These functions are controlled by eternal switches on the 60d. I'M curious how well they work when controlled by menu settings? Can you set phantom on individual xlrs or do you have to set it on pairs of xlrs?
And does the build feel more solid than the 60d and 680?
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I know you can do individual phantom to each XLR, not only in pairs.
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I hope the recorder fits good in the Petrol PS602 Deca Eargonizer Bag (Large), I hope its not over kill. I run schoeps with a sono sax and a tiny box.
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Bought two 64gb SDXC Sandiisk Ultra Plus UHS-1 class 10 cards for a total of $39 at Staples today. Pretty great deal!
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Bought two 64gb SDXC Sandiisk Ultra Plus UHS-1 class 10 cards for a total of $39 at Staples today. Pretty great deal!
how?
I see $32 each
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They were $25.99 at my local Staples and I had an additional 25% off email that was sent to Staples Rewards customers. Normal price at staples is $99.99 each! :o
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So my initial inspection of the unit is very favorable. Unit has a nice weight to it and seems well built. It is basically the size of a SD MP2/Shure FP-24. I removed the mounting bracket on top for insertion into my bag. I figured I would add a couple pics and I can give some detailed feedback after the first show with it on Monday. Will likely be running Pelusos into Channels 3/4 and DPA4061's (1/8" Trmintaion) into Channels 1/2. The Ravpower Element 10400 battery powers the unit just fine.
Everything fits nicely into my Lowepro Nova 5 bag with easy access to all sections. Inside the bag (pictured below) I have the Ravpower Battery, Mics In Cigar Caddy, Superclamp, XLRs. I made a custom PVC mount to elevate the DR-70D from the floor of the bag.
The XLR cables fit nicely in this bag, but if you have a bag any narrower than a Nova 5 sized bag you will likely need right angle or stubbies to fit into another style bag.
I also added a couple pictures with an M10 for reference of size.
Please let me know if anyone wants specific tests run on the unit. I will have plenty of time in the next couple of weeks to figure out whatever you all would like to low.
I am impressed so far! ;D
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Looks good, wouldn't mind seeing the pvc riser if you get a chance.
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Could you do a run time test with the The Ravpower Element 10400 battery. I want to know how much time I should expect to get with the battery.
Thanks
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Could you do a run time test with the The Ravpower Element 10400 battery. I want to know how much time I should expect to get with the battery.
Thanks
With 48 phantom on or not?
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Looks good, wouldn't mind seeing the pvc riser if you get a chance.
Here it is.
BTW, In my initial testing of the digital gain it has been stepless so far...or at the very least inaudible :)
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Could you do a run time test with the The Ravpower Element 10400 battery. I want to know how much time I should expect to get with the battery.
Thanks
With 48 phantom on or not?
Phantom power off
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Okay, finally got a good grasp on the recording features. Took me about an hour to familiarize myself with the unit functions and get everything set up the way I like them. Digital gain is not audible at all so I guess they addressed that issue from previous models.
Finally got my gear bag how I like it too. Off to see Dead Winter Carpenters on Monday for my first run with the unit. Will report back after that as well as hopefully doing some more testing on battery life, etc.
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Looks good, wouldn't mind seeing the pvc riser if you get a chance.
Here it is.
BTW, In my initial testing of the digital gain it has been stepless so far...or at the very least inaudible :)
thanks
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So my initial inspection of the unit is very favorable. Unit has a nice weight to it and seems well built. It is basically the size of a SD MP2/Shure FP-24. I removed the mounting bracket on top for insertion into my bag. I figured I would add a couple pics and I can give some detailed feedback after the first show with it on Monday. Will likely be running Pelusos into Channels 3/4 and DPA4061's (1/8" Trmintaion) into Channels 1/2. The Ravpower Element 10400 battery powers the unit just fine.
Everything fits nicely into my Lowepro Nova 5 bag with easy access to all sections. Inside the bag (pictured below) I have the Ravpower Battery, Mics In Cigar Caddy, Superclamp, XLRs. I made a custom PVC mount to elevate the DR-70D from the floor of the bag.
The XLR cables fit nicely in this bag, but if you have a bag any narrower than a Nova 5 sized bag you will likely need right angle or stubbies to fit into another style bag.
I also added a couple pictures with an M10 for reference of size.
Please let me know if anyone wants specific tests run on the unit. I will have plenty of time in the next couple of weeks to figure out whatever you all would like to low.
I am impressed so far! ;D
WoW that's much smaller than I though, I mean compared to the m-10 it's not much bigger... tempted to get rid of my DR-60...
thanks for the pics only if it had a digital in....
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That thing is TINY :) ;D I will definitely grab one of these after I pay off my NBob KCY ;) I can FINALLY have some control over each channel since my vms02ib just has ONE gain knob 8) ;D And I already have the perfect bag for it ;)
Now I cant wait to hear this thing in action ;D If it's ADC is anywhere as good as the m10s is, then I will be a very happy tapir lol ;) ;D 8) I'd really like to hear some Schoeps>Preamp>70D, so that I can get a feel for what it sounds like! And my buddy, Jon Merin, is supposed to buy a 70D tomorrow, so soon enough I'll hear some Schoeps>Lemosax/TinyBox>70D sources :) ;D 8)I'll ask Jon Merin to run mk4/mk41>KCY>Lemosax>70D + Lemosax>M10, so that we have a real time comp against the m10 vs. the 70D. Now THAT is a comp I can't wait to hear ;)
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That thing is TINY :) ;D I will definitely grab one of these after I pay off my NBob KCY ;) I can FINALLY have some control over each channel since my vms02ib just has ONE gain knob 8) ;D And I already have the perfect bag for it ;)
Now I cant wait to hear this thing in action ;D If it's ADC is anywhere as good as the m10s is, then I will be a very happy tapir lol ;) ;D 8) I'd really like to hear some Schoeps>Preamp>70D, so that I can get a feel for what it sounds like! And my buddy, Jon Merin, is supposed to buy a 70D tomorrow, so soon enough I'll hear some Schoeps>Lemosax/TinyBox>70D sources :) ;D 8)I'll ask Jon Merin to run mk4/mk41>KCY>Lemosax>70D + Lemosax>M10, so that we have a real time comp against the m10 vs. the 70D. Now THAT is a comp I can't wait to hear ;)
Deck has been ordered. I will run some comps this weekend if I get to a show.
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That thing is TINY :) ;D I will definitely grab one of these after I pay off my NBob KCY ;) I can FINALLY have some control over each channel since my vms02ib just has ONE gain knob 8) ;D And I already have the perfect bag for it ;)
Now I cant wait to hear this thing in action ;D If it's ADC is anywhere as good as the m10s is, then I will be a very happy tapir lol ;) ;D 8) I'd really like to hear some Schoeps>Preamp>70D, so that I can get a feel for what it sounds like! And my buddy, Jon Merin, is supposed to buy a 70D tomorrow, so soon enough I'll hear some Schoeps>Lemosax/TinyBox>70D sources :) ;D 8)I'll ask Jon Merin to run mk4/mk41>KCY>Lemosax>70D + Lemosax>M10, so that we have a real time comp against the m10 vs. the 70D. Now THAT is a comp I can't wait to hear ;)
Deck has been ordered. I will run some comps this weekend if I get to a show.
Good to see you getting back in the game Jon. Will we see you in Boulder/Denver for moe in February?
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That thing is TINY :) ;D I will definitely grab one of these after I pay off my NBob KCY ;) I can FINALLY have some control over each channel since my vms02ib just has ONE gain knob 8) ;D And I already have the perfect bag for it ;)
Now I cant wait to hear this thing in action ;D If it's ADC is anywhere as good as the m10s is, then I will be a very happy tapir lol ;) ;D 8) I'd really like to hear some Schoeps>Preamp>70D, so that I can get a feel for what it sounds like! And my buddy, Jon Merin, is supposed to buy a 70D tomorrow, so soon enough I'll hear some Schoeps>Lemosax/TinyBox>70D sources :) ;D 8)I'll ask Jon Merin to run mk4/mk41>KCY>Lemosax>70D + Lemosax>M10, so that we have a real time comp against the m10 vs. the 70D. Now THAT is a comp I can't wait to hear ;)
Deck has been ordered. I will run some comps this weekend if I get to a show.
Good to see you getting back in the game Jon. Will we see you in Boulder/Denver for moe in February?
No, I should be in NYC though.
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Looks like the deck will be in on December 3rd. Does anyone want me to run specific tests?
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Looks like the deck will be in on December 3rd. Does anyone want me to run specific tests?
id be interested in 70d vs tb> m10
I dumped my second m10 and shelved my lb for the 60d based on my tests
The 70d supposedly has better pres
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Looks like the deck will be in on December 3rd. Does anyone want me to run specific tests?
id be interested in 70d vs tb> m10
I dumped my second m10 and shelved my lb for the 60d based on my tests
The 70d supposedly has better pres
I can likely do that comp tonight as my Tinybox has a secondary line out as well as the connection feeding the 70D. Will be an omni DPA4061 source most likely though since I will be running my other mics direct XLR into the 70D.
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Looks like the deck will be in on December 3rd. Does anyone want me to run specific tests?
Your cables were shipped saturday so they should hit you today or tomorrow.
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That thing is TINY :) ;D I will definitely grab one of these after I pay off my NBob KCY ;) I can FINALLY have some control over each channel since my vms02ib just has ONE gain knob 8) ;D And I already have the perfect bag for it ;)
Now I cant wait to hear this thing in action ;D If it's ADC is anywhere as good as the m10s is, then I will be a very happy tapir lol ;) ;D 8) I'd really like to hear some Schoeps>Preamp>70D, so that I can get a feel for what it sounds like! And my buddy, Jon Merin, is supposed to buy a 70D tomorrow, so soon enough I'll hear some Schoeps>Lemosax/TinyBox>70D sources :) ;D 8)I'll ask Jon Merin to run mk4/mk41>KCY>Lemosax>70D + Lemosax>M10, so that we have a real time comp against the m10 vs. the 70D. Now THAT is a comp I can't wait to hear ;)
Deck has been ordered. I will run some comps this weekend if I get to a show.
Umm, hell yeah lol ;D 8) Like we talked about in our texts, I am DYING to hear the m10 vs. the 70D ADC!!! If you can run TinyBox>70D + Tinybox>M10, if your TB has [2] outputs ;) If it DOESN'T have [2] outputs, then I'd like to see you run Lemosax>70D + Lemosax>M10, so that we can hear exactly what the 70D's ADC sounds like, since we already know what the M10s ADC sounds like ;) That would surely put it to rest. And since I know your Lemosax has [2] outputs, then it should be very easy to do ;) 8)
Thanks buddy!
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Got to record a set of Dead Winter Carpenters using the new deck last night. I really think it sounds very nice. I had to leave after the first set but I should have it upped to LMA by tomorrow.
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:coolguy:
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http://youtu.be/sumvSK8awyQ
Here is a quick vid with the matrix recording I made with the DR-70D on Monday night. Will have some time to do some comparing, testing, this week.
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http://youtu.be/sumvSK8awyQ
Here is a quick vid with the matrix recording I made with the DR-70D on Monday night. Will have some time to do some comparing, testing, this week.
I assume the files lined up perfect with the same clock
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http://youtu.be/sumvSK8awyQ
Here is a quick vid with the matrix recording I made with the DR-70D on Monday night. Will have some time to do some comparing, testing, this week.
I assume the files lined up perfect with the same clock
Yes...Clock Synced
Dead Winter Carpenters set from Monday night:
https://archive.org/details/dwc2014-12-01.matrix.flac
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Did you mix the sources on the fly?
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Did you mix the sources on the fly?
Nope because I didn't have headphones with. It was also just my first trial run with the deck so I just wanted to be sure I got everything going correctly and work out any kinks before I take the deck out to some other shows this month.
I don't know that I would ever want to mix the show on the fly anyway. I kind of like to tweak the recordings in post when I am at home in a quiet environment instead of a raucous show.
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Did you mix the sources on the fly?
It is rarely a great idea to mix on the fly unless your mics are on-stage becuase there will be a time dealy (the clock is still synced).
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I recently used a cheapo set of earbuds to adjust my levels, and the results were good. Unlike headphones, they tend to have pretty good isolation and don't stand out.
I have seen the Shure SE215 earbuds recommended because of their clarity and isolation. Adorama has them on sale for $89. However, I went cheap and ordered a set of Vsonic's from Lendmeurears.com for something like $30. Not here yet to report on. They were also on sale.
We carry everything else. What more is it to carry a good set of earbuds? Seriously. Try it.
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Did you mix the sources on the fly?
It is rarely a great idea to mix on the fly unless your mics are on-stage becuase there will be a time dealy (the clock is still synced).
I have never noticed delay when running two sets of mics on the same stand at the back of a room by the soundboard areas
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If the two sets of mics are on the same stand, there won't be any delay.
There would be delay if running one set of mics on a stand 100 feet back while picking up a SB feed from the stage, however.
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If the two sets of mics are on the same stand, there won't be any delay.
There would be delay if running one set of mics on a stand 100 feet back while picking up a SB feed from the stage, however.
True. Isn't the conversion basically 1 millisecond of delay for each foot back from stage the mics are placed. That is what I have always heard. Any insight to this?
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That's my understanding as well that it's 1ms per foot. http://www.recordinginstitute.com/da154/ARP/chap3Sig/0304delcor.html
I'm guessing the 70d has a delay compensation in the menu like the 60d or it can be adjusted in your DAW by nudging the tracks as needed.
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Yes 70d has the delay feature. I imagine getting it dialed in at the show on the unit would be ideal instead of fiddling with the DAW later as long as you pace off the distance from PA to mics.
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I'm no expert. It just seems to me that a quick check of what we're recording by any means will help point out problems with mic position and levels while there is still time to make corrections.
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Just ordered from B&H! First new recorder in 10 years! Now to accessorize! 8)
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That thing is TINY :) ;D I will definitely grab one of these after I pay off my NBob KCY ;) I can FINALLY have some control over each channel since my vms02ib just has ONE gain knob 8) ;D And I already have the perfect bag for it ;)
Now I cant wait to hear this thing in action ;D If it's ADC is anywhere as good as the m10s is, then I will be a very happy tapir lol ;) ;D 8) I'd really like to hear some Schoeps>Preamp>70D, so that I can get a feel for what it sounds like! And my buddy, Jon Merin, is supposed to buy a 70D tomorrow, so soon enough I'll hear some Schoeps>Lemosax/TinyBox>70D sources :) ;D 8)I'll ask Jon Merin to run mk4/mk41>KCY>Lemosax>70D + Lemosax>M10, so that we have a real time comp against the m10 vs. the 70D. Now THAT is a comp I can't wait to hear ;)
Deck has been ordered. I will run some comps this weekend if I get to a show.
Umm, hell yeah lol ;D 8) Like we talked about in our texts, I am DYING to hear the m10 vs. the 70D ADC!!! If you can run TinyBox>70D + Tinybox>M10, if your TB has [2] outputs ;) If it DOESN'T have [2] outputs, then I'd like to see you run Lemosax>70D + Lemosax>M10, so that we can hear exactly what the 70D's ADC sounds like, since we already know what the M10s ADC sounds like ;) That would surely put it to rest. And since I know your Lemosax has [2] outputs, then it should be very easy to do ;) 8)
Thanks buddy!
To really test the built-in preamp quality, I'd be interested in hearing Mics>FP24>70D vs. Mics>70D on something quiet and needing a fair amount of gain. I'd imagine the 70D's pres will be noisier, but by how much is the question. Basically I'm wondering if the 70D does a better job of a one-box preamp and recorder solution than the Zoom line. I'm not expecting it to replace a SD 788 or Nagra VI here...
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That thing is TINY :) ;D I will definitely grab one of these after I pay off my NBob KCY ;) I can FINALLY have some control over each channel since my vms02ib just has ONE gain knob 8) ;D And I already have the perfect bag for it ;)
Now I cant wait to hear this thing in action ;D If it's ADC is anywhere as good as the m10s is, then I will be a very happy tapir lol ;) ;D 8) I'd really like to hear some Schoeps>Preamp>70D, so that I can get a feel for what it sounds like! And my buddy, Jon Merin, is supposed to buy a 70D tomorrow, so soon enough I'll hear some Schoeps>Lemosax/TinyBox>70D sources :) ;D 8)I'll ask Jon Merin to run mk4/mk41>KCY>Lemosax>70D + Lemosax>M10, so that we have a real time comp against the m10 vs. the 70D. Now THAT is a comp I can't wait to hear ;)
Deck has been ordered. I will run some comps this weekend if I get to a show.
Umm, hell yeah lol ;D 8) Like we talked about in our texts, I am DYING to hear the m10 vs. the 70D ADC!!! If you can run TinyBox>70D + Tinybox>M10, if your TB has [2] outputs ;) If it DOESN'T have [2] outputs, then I'd like to see you run Lemosax>70D + Lemosax>M10, so that we can hear exactly what the 70D's ADC sounds like, since we already know what the M10s ADC sounds like ;) That would surely put it to rest. And since I know your Lemosax has [2] outputs, then it should be very easy to do ;) 8)
Thanks buddy!
To really test the built-in preamp quality, I'd be interested in hearing Mics>FP24>70D vs. Mics>70D on something quiet and needing a fair amount of gain. I'd imagine the 70D's pres will be noisier, but by how much is the question. Basically I'm wondering if the 70D does a better job of a one-box preamp and recorder solution than the Zoom line. I'm not expecting it to replace a SD 788 or Nagra VI here...
Has the Zoom line recently grabbed some sort of new attention? I had always heard they were pretty crappy recorders with subpar pres. Of course, I have no personal experience to back that up but I recall lots of chatter about that. ???
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Zoom H6, Zoom H5, and for that matter the H2N, all perfecly respectable.
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Zoom H6, Zoom H5, and for that matter the H2N, all perfecly respectable.
Thanks, good to know.
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I recently used a cheapo set of earbuds to adjust my levels, and the results were good. Unlike headphones, they tend to have pretty good isolation and don't stand out.
I have seen the Shure SE215 earbuds recommended because of their clarity and isolation. Adorama has them on sale for $89. However, I went cheap and ordered a set of Vsonic's from Lendmeurears.com for something like $30. Not here yet to report on. They were also on sale.
We carry everything else. What more is it to carry a good set of earbuds? Seriously. Try it.
I can't preach enough about decent earbuds. I keep them in a small baggie and rarely use them at the shows, but its just nice having them in case I do need them. And they fit in a 2" x 3" baggie perfectly. Sure as hell beats lugging big headphones around too ;)
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That thing is TINY :) ;D I will definitely grab one of these after I pay off my NBob KCY ;) I can FINALLY have some control over each channel since my vms02ib just has ONE gain knob 8) ;D And I already have the perfect bag for it ;)
Now I cant wait to hear this thing in action ;D If it's ADC is anywhere as good as the m10s is, then I will be a very happy tapir lol ;) ;D 8) I'd really like to hear some Schoeps>Preamp>70D, so that I can get a feel for what it sounds like! And my buddy, Jon Merin, is supposed to buy a 70D tomorrow, so soon enough I'll hear some Schoeps>Lemosax/TinyBox>70D sources :) ;D 8)I'll ask Jon Merin to run mk4/mk41>KCY>Lemosax>70D + Lemosax>M10, so that we have a real time comp against the m10 vs. the 70D. Now THAT is a comp I can't wait to hear ;)
Deck has been ordered. I will run some comps this weekend if I get to a show.
Umm, hell yeah lol ;D 8) Like we talked about in our texts, I am DYING to hear the m10 vs. the 70D ADC!!! If you can run TinyBox>70D + Tinybox>M10, if your TB has [2] outputs ;) If it DOESN'T have [2] outputs, then I'd like to see you run Lemosax>70D + Lemosax>M10, so that we can hear exactly what the 70D's ADC sounds like, since we already know what the M10s ADC sounds like ;) That would surely put it to rest. And since I know your Lemosax has [2] outputs, then it should be very easy to do ;) 8)
Thanks buddy!
To really test the built-in preamp quality, I'd be interested in hearing Mics>FP24>70D vs. Mics>70D on something quiet and needing a fair amount of gain. I'd imagine the 70D's pres will be noisier, but by how much is the question. Basically I'm wondering if the 70D does a better job of a one-box preamp and recorder solution than the Zoom line. I'm not expecting it to replace a SD 788 or Nagra VI here...
Yea, I want to hear the 70D anyway I can, whether its the preamps or the ADC. But I will NEVER use its preamps, just mainly interested in how its ADC sounds compared to the m10. Because most of us run mics>preamp>recorder. If I wanted an all-in-one, I don't think Id be comfortable using the 70D just yet. Its too new, and I don't like being a guinea pig lol ;) But I don't care what it costs, as long as it sounds fn killer ;D 8)
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These are onsale this morning at NewEgg - is this the thing for powering the 70D?
http://www.newegg.com/Special/ShellShocker.aspx?cm_sp=Homepage_SS-_-P1_0SC-000Y-00057-_-12072014
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These are onsale this morning at NewEgg - is this the thing for powering the 70D?
http://www.newegg.com/Special/ShellShocker.aspx?cm_sp=Homepage_SS-_-P1_0SC-000Y-00057-_-12072014
:hmmm: think you have the wrong link.
Any usb 5v should power it fine though
Here ya go http://www.newegg.com/Product/Product.aspx?Item=0SC-000Y-00057
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Scrolling through, there's a 10,000mah Ravpower 5v dual outlet battery for $19.99 including shipping. Should work and not a bad deal. White case.
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Scrolling through, there's a 10,000mah Ravpower 5v dual outlet battery for $19.99 including shipping. Should work and not a bad deal. White case.
got that battery. It works great!
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Ok - got mine!
Like, but quick question...
Wondering if I got a returned unit... :-\
Did you guys have a clear packing cover strip/shield on the screen...?
Mine did not - and Im suspicious, I think I see a few flakes glitter on the bottom!!!
Ordered from B&H...
Other than that...so far so good.
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Ok - got mine!
Like, but quick question...
Wondering if I got a returned unit... :-\
Did you guys have a clear packing cover strip/shield on the screen...?
Mine did not - and Im suspicious, I think I see a few flakes glitter on the bottom!!!
Ordered from B&H...
Other than that...so far so good.
I don't believe mine had a cover over the screen either. I'm not worried
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Anyone know how the TASCAM devices handle an unbalanced signal on a TS 1/4 inch input?
The connector is spec'ed as "XLR/TRS" on the DR-70D
I'd probably prefer to use a short set of RCA>1/4 angle TS - over the 1/8 stereo for getting RCA board feeds.
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hey all what do you have your pan settings at.... I recorded a show and the for the first band, the levels were extremely low. The levels for the second band were extremely high. There was not a difference in the level of the PA. Thanks...
I have the level of Gain set to low and my pan is : channel 1: left 12, channel 2: Left 12 Channel 3 Left 12 Channel 4 Right 12
I ran Mk4> sax> Tascam xlr
MK21 > tiny box >Tascam xlr
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hey all what do you have your pan settings at.... I recorded a show and the for the for band, the levels were extremely low. The levels for the second band were extremely high. There was not a difference in the level of the PA. Thanks...
I have the level of Gain set to low and my pan is : channel 1: left 12, channel 2: Left 12 Channel 3 Left 12 Channel 4 Right 12
I guess it depends on how the recorder is saving the files. Are you getting 2 stereo wav files or 4 mono wav files?
If 4 - no need to pan. If 2 - then pan.
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hey all what do you have your pan settings at.... I recorded a show and the for the for band, the levels were extremely low. The levels for the second band were extremely high. There was not a difference in the level of the PA. Thanks...
I have the level of Gain set to low and my pan is : channel 1: left 12, channel 2: Left 12 Channel 3 Left 12 Channel 4 Right 12
I guess it depends on how the recorder is saving the files. Are you getting 2 stereo wav files or 4 mono wav files?
If 4 - no need to pan. If 2 - then pan.
I am getting a stereo track for 1 2 and a stereo track for 3 4.
I do not understand why the levels would be way off from each band.
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hey all what do you have your pan settings at.... I recorded a show and the for the for band, the levels were extremely low. The levels for the second band were extremely high. There was not a difference in the level of the PA. Thanks...
I have the level of Gain set to low and my pan is : channel 1: left 12, channel 2: Left 12 Channel 3 Left 12 Channel 4 Right 12
I guess it depends on how the recorder is saving the files. Are you getting 2 stereo wav files or 4 mono wav files?
If 4 - no need to pan. If 2 - then pan.
I am getting a stereo track for 1 2 and a stereo track for 3 4.
I do not understand why the levels would be way off from each band.
You're referring to the board feed?
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hey all what do you have your pan settings at.... I recorded a show and the for the for band, the levels were extremely low. The levels for the second band were extremely high. There was not a difference in the level of the PA. Thanks...
I have the level of Gain set to low and my pan is : channel 1: left 12, channel 2: Left 12 Channel 3 Left 12 Channel 4 Right 12
I guess it depends on how the recorder is saving the files. Are you getting 2 stereo wav files or 4 mono wav files?
If 4 - no need to pan. If 2 - then pan.
I am getting a stereo track for 1 2 and a stereo track for 3 4.
I do not understand why the levels would be way off from each band.
I guess it would be obvious from the files if you had used the "Dual Record" function and had a set of files that were Xdb lower than the others.
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hey all what do you have your pan settings at.... I recorded a show and the for the for band, the levels were extremely low. The levels for the second band were extremely high. There was not a difference in the level of the PA. Thanks...
I have the level of Gain set to low and my pan is : channel 1: left 12, channel 2: Left 12 Channel 3 Left 12 Channel 4 Right 12
I guess it depends on how the recorder is saving the files. Are you getting 2 stereo wav files or 4 mono wav files?
If 4 - no need to pan. If 2 - then pan.
I am getting a stereo track for 1 2 and a stereo track for 3 4.
I do not understand why the levels would be way off from each band.
I guess it would be obvious from the files if you had used the "Dual Record" function and had a set of files that were Xdb lower than the others.
I do not believe that I had duel record on. Duel record mixes all 4 channels right. I will tape another show on Friday and see what happens.
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hey all what do you have your pan settings at.... I recorded a show and the for the first band, the levels were extremely low. The levels for the second band were extremely high. There was not a difference in the level of the PA. Thanks...
I have the level of Gain set to low and my pan is : channel 1: left 12, channel 2: Left 12 Channel 3 Left 12 Channel 4 Right 12
I ran Mk4> sax> Tascam xlr
MK21 > tiny box >Tascam xlr
Mine are set the same way and I recorded as two separate stereo tracks that could be mixed later. My first recording came out nice I thought.
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hey all what do you have your pan settings at.... I recorded a show and the for the for band, the levels were extremely low. The levels for the second band were extremely high. There was not a difference in the level of the PA. Thanks...
I have the level of Gain set to low and my pan is : channel 1: left 12, channel 2: Left 12 Channel 3 Left 12 Channel 4 Right 12
I guess it depends on how the recorder is saving the files. Are you getting 2 stereo wav files or 4 mono wav files?
If 4 - no need to pan. If 2 - then pan.
I am getting a stereo track for 1 2 and a stereo track for 3 4.
I do not understand why the levels would be way off from each band.
I guess it would be obvious from the files if you had used the "Dual Record" function and had a set of files that were Xdb lower than the others.
I do not believe that I had duel record on. Duel record mixes all 4 channels right. I will tape another show on Friday and see what happens.
I don't believe Dual Record mixes all 4 channels. I believe it records one stereo input at the gain you set and then it records a duplicate of that source at a -6dB setting as a "safety" track.
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I don't believe Dual Record mixes all 4 channels. I believe it records one stereo input at the gain you set and then it records a duplicate of that source at a -6dB setting as a "safety" track.
Correct.
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hey all what do you have your pan settings at.... I recorded a show and the for the first band, the levels were extremely low. The levels for the second band were extremely high. There was not a difference in the level of the PA. Thanks...
I have the level of Gain set to low and my pan is : channel 1: left 12, channel 2: Left 12 Channel 3 Left 12 Channel 4 Right 12
I ran Mk4> sax> Tascam xlr
MK21 > tiny box >Tascam xlr
Mine are set the same way and I recorded as two separate stereo tracks that could be mixed later. My first recording came out nice I thought.
Cheese.
I don't have a 70d but I've had a 744 and a 680, so Jon and I have been texting and trying to figure out the menu structure, so I've read through the manual. I'm confused about the pan setting on the input menu, especially with respect to your response above. The manual does a lousy job of explaining it, but unless I'm misunderstanding, the pan setting needs to be correct in order for your channels to be written properly onto your recorded files.
Since Jon said that channel 1 is set to left 12 and channel two is also set to left 12, wouldn't that mean that you are routing the same mic input onto both channels 1 and 2? In other words, I'd think you'd want channel 1 to be assigned left 12 and channel two to be assigned right 12 so that your recording comes out in stereo.
Also, if you're running four mics the way Jon is running them (two separate rigs), wouldn't the routing for channels three and four be left 34 and right 34? If they are left 12 and right 12, then wouldn't you simply be recording the same pair of mics on channels 3 and 4 as you're recording onto channels 1 and 2?
Unless I am misunderstanding the pan function on the inputs, if left 12 is selected on 3 out of the four channels as you've stated above, it seems to me that you're recording only one out of the four mics onto three separate recorded channels.
Finally, for the type of recording we all do (two mic stereo recording) I can't figure out when or why anyone would ever choose 'center' on the pan menu.
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Sorry, I was typing before thinking.
This past Monday I ran 4 channels into the deck.
I had a pair of DPA4061's > Tinybox > into channels 1/2. Channel 1 was panned Left @ 12, channel 2 was panned Right @ 12.
The second set of mics were my Peluso CEMC6's for channels 3/4. Channel 3 was panned left @ 12, channel 4 was panned right @ 12.
That is was gave the correct stereo separation and levels, etc.
I would not ever use center pan unless I was running 3 mice and wanted one as a center channel. I don't ever see myself doing that since I have 4 mics though.
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I don't believe Dual Record mixes all 4 channels. I believe it records one stereo input at the gain you set and then it records a duplicate of that source at a -6dB setting as a "safety" track.
Correct.
From Page 25 of the Manual...
Simultaneously Recording Two Files At Different Input Levels (DUAL REC)
This recorder can simultaneously record a second recording at a different input level along with the regular recording. For example, when recording with microphones, you can make an oridinary recording with the input level set as high as possible and simultaneously record at a slightly lower input level for safety.
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This past Monday I ran 4 channels into the deck.
I had a pair of DPA4061's > Tinybox > into channels 1/2. Channel 1 was panned Left @ 12, channel 2 was panned Right @ 12.
The second set of mics were my Peluso CEMC6's for channels 3/4. Channel 3 was panned left @ 12, channel 4 was panned right @ 12.
Thanks for the feedback Cheese. Helps to clarify.
So Jon, your channels were peaking at the same level on left and right channels 1 and 2 because you have the same input routed to channel 1/2. You need to switch pan for channel 2 from left 12 to right 12. No changes need to be made to the pan setting for channel 3/4.
I would not ever use center pan unless I was running 3 mice and wanted one as a center channel. I don't ever see myself doing that since I have 4 mics though.
OK, that makes sense. Thanks.
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This past Monday I ran 4 channels into the deck.
I had a pair of DPA4061's > Tinybox > into channels 1/2. Channel 1 was panned Left @ 12, channel 2 was panned Right @ 12.
The second set of mics were my Peluso CEMC6's for channels 3/4. Channel 3 was panned left @ 12, channel 4 was panned right @ 12.
Thanks for the feedback Cheese. Helps to clarify.
So Jon, your channels were peaking at the same level on left and right channels 1 and 2 because you have the same input routed to channel 1/2. You need to switch pan for channel 2 from left 12 to right 12. No changes need to be made to the pan setting for channel 3/4.
I would not ever use center pan unless I was running 3 mice and wanted one as a center channel. I don't ever see myself doing that since I have 4 mics though.
OK, that makes sense. Thanks.
Thanks :) I will make my changes tonight.
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I know nothing of this device, but you may find that panning functions may differ according to circumstance. For instance, if recording four inputs direct to stereo, panning of those four inputs would be likely to be written to the stereo file as panned. If recording four inputs to four channels, panning might simply be for monitoring and will not affect the recorded files. If I had the device, I would check things at home eg by recording in various track combinations but with only one mic actually connected, and pan that left and right and centre while recording, then play it back and see if the panning was recorded or not, etc etc.
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This past Monday I ran 4 channels into the deck.
I had a pair of DPA4061's > Tinybox > into channels 1/2. Channel 1 was panned Left @ 12, channel 2 was panned Right @ 12.
The second set of mics were my Peluso CEMC6's for channels 3/4. Channel 3 was panned left @ 12, channel 4 was panned right @ 12.
Thanks for the feedback Cheese. Helps to clarify.
So Jon, your channels were peaking at the same level on left and right channels 1 and 2 because you have the same input routed to channel 1/2. You need to switch pan for channel 2 from left 12 to right 12. No changes need to be made to the pan setting for channel 3/4.
I would not ever use center pan unless I was running 3 mice and wanted one as a center channel. I don't ever see myself doing that since I have 4 mics though.
OK, that makes sense. Thanks.
Thanks :) I will make my changes tonight.
That's exactly how I would do it too. Steve explained it better than I could. But no matter how many mics or channels you're running, Channel 1 Left, Channel 2 Right, Channel 3 Left Channel 4 Right, Channel 5 Left Channel 6 Right, Channel 7 Left Channel 8 Right, and so on and so on ;)
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Ran the DR70-D yesterday afternoon. 290 seat theatre - 7 piece band, country music.
I was about 30 feet from the stage, running the Audix M1280s. Ran 3/4 mic in, saved as a stereo wav file. Channel pan at max (12)
Regarding the low levels - I ran on "low" mic input setting - and I had the levels cranked all the way up.
Never saw the peak light. I had decent levels - but I didn't like having to run max knob.
Second set, I switched to "High" and ran levels about 10 o'clock - a few peaks lights on some bigger drum hits.
That seemed like a more "normal" situation.
So - I could see how levels might seem low, depending on what you are recording.
The "Low" mic input might be reserved for the loudest of the loud - or when you are very close.
Ate up my batteries - I changed at intermission. Looked like I was down to about 1 bar after an hour or so.
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Another thing I notice is the lack of any info on the built-in mics...not one word about them in the manual.
...figured it out though, - The built-in mics are only available on channels 3/4. Also noticed, if you change it on 3, 4 will be changed too.(I guess since they are stereo/linked channels)
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Another thing I notice is the lack of any info on the built-in mics...not one word about them in the manual.
I spent quite a bit of time with the manual and also found it to be lacking. There are two manuals...the one manual is almost worthless, but the manual that's called the Reference manual is OK. It's not the worst manual ever written, but there's alot going on in the menu and setup for these four channel recorders. Tascam could have done a much better job explaining what some of the settings are for, like that Pan setting on the input like we discussed yesterday. Once again, if I could rate Tascam as a whole, they make good bang for buck products, but their customer support is near the bottom of the industry.
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I was about 30 feet from the stage, running the Audix M1280s. Ran 3/4 mic in, saved as a stereo wav file. Channel pan at max (12)
Regarding the low levels - I ran on "low" mic input setting - and I had the levels cranked all the way up.
Never saw the peak light. I had decent levels - but I didn't like having to run max knob.
Second set, I switched to "High" and ran levels about 10 o'clock - a few peaks lights on some bigger drum hits.
That seemed like a more "normal" situation.
So - I could see how levels might seem low, depending on what you are recording.
The "Low" mic input might be reserved for the loudest of the loud - or when you are very close.
Ate up my batteries - I changed at intermission. Looked like I was down to about 1 bar after an hour or so.
Life In Rewind...don't forget that in addition to Low-High on your gain settings, there's another menu on the input where you can select between Line - Mic - and Mic + Phantom. As far as I can tell, the only difference between Line and Mic is 20db in input sensitivity (I basically look at it as shifting the scale on the meters by 20db). Sounds like you got the levels you want when you went to 'high' gain, but you could also switch the other setting between line and mic.
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Ate up my batteries - I changed at intermission. Looked like I was down to about 1 bar after an hour or so.
I think it's safe to assume that if you are using phantom power with most modern recorders, it's going to be necessary to use external power unless it's a short recording. Perhaps the ready availability of power packs for phones, coupled with the provision of USB power inputs, leads the designers to not try too hard for low power consumption.
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A good usb pack : This is the one that I have and it should give you a lot of time. I will run a test on the length tomorrow morning and report back
http://www.amazon.com/gp/product/B009V5X1CE/ref=oh_aui_detailpage_o01_s00?ie=UTF8&psc=1
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Ran again yesterday...AUD on 1/2 and tried to take my board feed on 3/4, but ended up with the internals mics...boo! :facepalm:
So - the menus will take a bit experimenting.
Todays lesson was - always tap those built-in mics to make sure they arent on!
I did set record to "mono" - So I should have 4 wav files per set.
The manual implies that "Pan" is only active in stereo mode.
I'll post a few samples later
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With so much of it controlled by menu vs physical switches that would have cost more, I could see this happening by accident.
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With so much of it controlled by menu vs physical switches that would have cost more, I could see this happening by accident.
I think routing on all of the multi-channel recorders are controlled almost exclusively from the menu. If you want the functionality of a mixer, with channel strips of pan knobs and buttons, you're going to sacrifice size. And I wouldn't want mixer function buttons and knobs on the outside of my recorder that could be easily bumped out of position.
That said, I do insist on basic mixing functions on the menu if I'm going to have a multi channel recorder. You need the capability for custom routing of inputs to different outputs, expecially on the recorders with more than four channels.
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I'm glad I bought the Zoom H6 now, it's much easier to use and far better battery life, 6 hours with 2 phantom powered mics, on
NiMh rechargable batteries.
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If you can stand to listen to gospel/country - here's a few samples from yesterday. (I work for this country show doing sound and lights, this is from our holiday show.)
These are Audix M1280s about 30 feet back in a 280 seat theatre - about 12 feet high, more or less PAS. Recorded at 24/44, and > 16 bits via Audacity
This Little Light
http://rovingsign.com/dr70d/thislittlelight16.mp3 (http://rovingsign.com/dr70d/thislittlelight16.mp3)
http://rovingsign.com/dr70d/thislittlelight16.flac (http://rovingsign.com/dr70d/thislittlelight16.flac)
Blind Man
http://rovingsign.com/dr70d/blindman16.mp3 (http://rovingsign.com/dr70d/blindman16.mp3)
http://rovingsign.com/dr70d/blindman16.flac (http://rovingsign.com/dr70d/blindman16.flac)
Joy To The World
http://rovingsign.com/dr70d/joy16.mp3 (http://rovingsign.com/dr70d/joy16.mp3)
http://rovingsign.com/dr70d/joy16.flac (http://rovingsign.com/dr70d/joy16.flac)
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thanks for these. Nothing like real world recording to hear what it can do. Seems pretty clear to my ears.
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Below you will find a blind test comparison link shortly for you all to check out. They are the raw 24/96 files from the following rigs:
DPA4061 > Tinybox > Sony PCM -M10
vs.
DPA4061 > Tinybox > Tascam DR-70D
I have dual outs of my Tinybox so this will be a direct comparison. Somebody on here asked for this a week or two ago.
They will be marked as a sample A and B. They are the unaltered master files. Levels volume between the two sources is very close but not exactly the same so take that into consideration while listening.
The sample tune is Colorado Wildfire by Dead Winter Carpenters
Here is the download link:
http://we.tl/QAqTAEY9rj
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I'm going with A because I can pick out an audience member near the end that's harder to pick out on B. But A and B sound very, very close to me.
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But A and B sound very, very close to me.
Same here, for my ears and playback they are too close to prefer one over the other. Appreciate the comp :D
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Well since it looks as if no one else wants to play...Sample A was the DR-70D.
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With the tinybox in the chain in both samples, you'd sort of expect them to be similar.
The next obvious test would be to run the same mics straight in to the M10 and the 70d for comparison. I suppose they would have to be on the 1/8 stereo input since the m10 has no XLR connections. But I'm not sure whether the preamp is the same on the 1/8 stereo input as on the XLRs on the 70d.
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With the tinybox in the chain in both samples, you'd sort of expect them to be similar.
The next obvious test would be to run the same mics straight in to the M10 and the 70d for comparison. I suppose they would have to be on the 1/8 stereo input since the m10 has no XLR connections. But I'm not sure whether the preamp is the same on the 1/8 stereo input as on the XLRs on the 70d.
Same pres on the 1/8" and XLR on the DR-70D.
How would I provide phantom power to the mics without running through some sort of preamp, which would color the sound depending on the pre, correct?
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The mics would have to be able to run off plug in power provided by the m10 or the 70d.
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I think it would make more sense to compare the DR-70D preamps against the FP24 as I was saying earlier. Connect the FP24 to the Tascam via the 1/8" input like you would when using your M10. Use the slate tone to calibrate the 1/8" input to -20 and then leave it alone, so you're not needlessly adding any more gain (and noise) on the Tascam. Then of course run one pair of mics through the FP24, and the other pair straight into the DR-70D. Try and set gains as close as you can, but you can always level-match in post later. If you record something soft and intimate needing a good deal of gain, all the better. A loud show could be useful to show what the pres can handle for levels, but it's not going to tell you much about the self noise.
If you don't have any quiet shows to record, just record yourself or a friend playing or singing alone in a quiet room.
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Found some youtube videos, of audio tests with a beyerdynamic shotgun and internal mics of the tascam dr-70d.
http://youtu.be/kvtqAIPcgdk
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Ok - last night I got to get out in front of a louder rock band at a local brewery. Considerably closer, 15 feet from band, same Audix M1280s
I still had my mic levels set to "high" from my previous gig with the country band in a theatre.
Last night - I had to stop during the first song and set my levels back to "low" - and all was well.(note - you can't access the menu while recording.)
On high - levels were either peaked out - or off completely...no real control.
On the battery front - I settled on this one from NewEgg (on special the other day for 21.99)
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620022
13000mAh. Nice build, aluminum case.
Question - does it matter which output I use, 1A vs 2A?
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Ok - last night I got to get out in front of a louder rock band at a local brewery. Considerably closer, 15 feet from band, same Audix M1280s
I still had my mic levels set to "high" from my previous gig with the country band in a theatre.
Last night - I had to stop during the first song and set my levels back to "low" - and all was well.(note - you can't access the menu while recording.)
On high - levels were either peaked out - or off completely...no real control.
On the battery front - I settled on this one from NewEgg (on special the other day for 21.99)
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620022
13000mAh. Nice build, aluminum case.
Question - does it matter which output I use, 1A vs 2A?
1A
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Ok - last night I got to get out in front of a louder rock band at a local brewery. Considerably closer, 15 feet from band, same Audix M1280s
I still had my mic levels set to "high" from my previous gig with the country band in a theatre.
Last night - I had to stop during the first song and set my levels back to "low" - and all was well.(note - you can't access the menu while recording.)
On high - levels were either peaked out - or off completely...no real control.
On the battery front - I settled on this one from NewEgg (on special the other day for 21.99)
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620022
13000mAh. Nice build, aluminum case.
Question - does it matter which output I use, 1A vs 2A?
for sack of knowledge
Try going into the menu while you are on record/pause aka prerecord
On the 60 you can change gain and such which allows you to see levels while changing. I did it last week where I was boarderline med/high and after seeing ch1 on med and ch2 on high was able to pick what fit best.
(Never tried while actually recording)
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B&H is now offering Sony Soundforge Pro 11 for Free with the purchase of a DR-70D!
http://www.bhphotovideo.com/c/product/1086798-REG/tascam_dr_70d_4_channel_audio_recording.html
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Looking at this sale, others might be interested to know that Soundforge Pro 11 includes some features from Izotope (declick, denoise, and declip) to name but a few.
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If anyone's interested in my virtually brand new DR-70D for $250, let me know.
My work will be buying us another with the Soundforge bundle.
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If anyone's interested in my virtually brand new DR-70D for $250, let me know.
My work will be buying us another with the Soundforge bundle.
FYI if you bought from B&H like I did...I called yesterday and they did a virtual return over the phone and sent out SF11 to me today free of charge!
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If anyone's interested in my virtually brand new DR-70D for $250, let me know.
My work will be buying us another with the Soundforge bundle.
FYI if you bought from B&H like I did...I called yesterday and they did a virtual return over the phone and sent out SF11 to me today free of charge!
one more reason b&h kicks ass
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So cool - I was going to inquire too!
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Thats a ridiculous price for this sucka ;D
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If anyone's interested in my virtually brand new DR-70D for $250, let me know.
My work will be buying us another with the Soundforge bundle.
If you are still serious I'd love to take you up on that.
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I love this fucking thing!!! >:D
Listening to my NYE house party recording from last night...
Ran from around 9PM to just short of 3AM - my SCUD 13000 had just hit 2 bars (of 4)
This was my first matrix attempt with this device...playback out of the unit is outstanding.
Took the board feed (bass, vox, and some kick drum) in on channel 1&2 - 1/8 Line In from the mixers RCA outs.
And ran the Audix 1280s onstage, NOS into 3 & 4.
Samples will follow...
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I think this may be the most enthusiastic post about a recorder I have ever read.
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I will call tomorrow, hope it works for me too!
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I love this fucking thing!!! >:D
Listening to my NYE house party recording from last night...
Ran from around 9PM to just short of 3AM - my SCUD 13000 had just hit 2 bars (of 4)
This was my first matrix attempt with this device...playback out of the unit is outstanding.
Took the board feed (bass, vox, and some kick drum) in on channel 1&2 - 1/8 Line In from the mixers RCA outs.
And ran the Audix 1280s onstage, NOS into 3 & 4.
Samples will follow...
http://rovingsign.com/dr70d/redeyeset0105.mp3
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sounds good.
Those who've used the 70d, any more comments on the overall build of the unit, the battery door, the screen, meter accuracy, the tilted screen, etc? No zipper noise on the gain controls? How is the XLR layout working for you?
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A few impressions:
Solid metal casing. Only the bottom plate seems made of plastic. The photog-oriented, screw on gadget on the top is removable - and the unit comes with 4 rubber plugs to put in the screw holes if you choose to remove it. The battery/card-slot door is also plastic. It does seem a bit fumbly. All things considered, the little plastic hinge thing may be more durable than a mechanical/metal solution. The batteries actually have their own metal door under the plastic hood.(which has a solid hinge and closer) Since most of us will use an external battery, and getting to the card is easy.(compared to working with the battery door) - not a big deal. The red handles make nice stilts/stand for working on the battery side without hurting the screen or knobs.
Knobs move nicely, just enough resistance to make your adjustments smooth. I don't think I made enough adjustments to notice any unusual, though (re: zipping sound)
Unit recognized something on the USB and asked me what I wanted to do - Power or Data.
Backlight stays on continuously when on USB power. Cool. I like to watch. Titled screen seems fine - and at a good angle. Might be too extreme for those who want to run vertically, with your bag at your feet.
Meters combined with the LED peak light make it easy enough to keep a handle on things. There is a little indicator that shows the latest peak in the last X amount of time - but its not clear what channel its attributed to...and it's tiny!
XLR layout - angle/stubby plugs will be the best. Full size XLRs are half the width of the unit. Worked ok in my laptop bag - but will be getting some new cables! Nice combo XLRs take 1/4 inch inputs also. Ultimately, I will make ALL of my cables angle plugged for this unit.
The one dream feature this unit needs is a "solo" feature to make the screen display a single channel - and all of its (more detailed) gain info.
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Thanks for all the valuable posts in this thread. They helped me to decide and order one.
I'd like to share some battery tests:
4 new AA Panasonic NiHM 2600mAh
out of the box: hardly more than 1 hour
after first charging: 2 hours (2 channels, 1 with phantom)
after second charging: almost 4 hours (3 channels all with phantom)
I read somewhere that batteries need a few cycles to get to their strength, so this is probably not too bad.
The battery indicator goes down to half rather quickly and remains quit long in the lower quarter.
attached to an Anker Astro pro 20000 mAh
23 (!) hours of continuos recording (3 channels all with phantom)
This should get you even through a very long shooting day ;-)
I do some real world recording tomorrow and will share some more thoughts.
Johannes
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One thing I wanted to mention - run temperatures.
My battery, (SCUD P130 13000mAh) and the recorder ran cool as a cucumber.
I didn't detect any heat coming from either!
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Thanks for all the valuable posts in this thread. They helped me to decide and order one.
I'd like to share some battery tests:
4 new AA Panasonic NiHM 2600mAh
out of the box: hardly more than 1 hour
after first charging: 2 hours (2 channels, 1 with phantom)
after second charging: almost 4 hours (3 channels all with phantom)
I read somewhere that batteries need a few cycles to get to their strength, so this is probably not too bad.
The battery indicator goes down to half rather quickly and remains quit long in the lower quarter.
attached to an Anker Astro pro 20000 mAh
23 (!) hours of continuos recording (3 channels all with phantom)
This should get you even through a very long shooting day ;-)
I do some real world recording tomorrow and will share some more thoughts.
Johannes
That's a lot of record time for the Anker Astro pro 20000 mAh. Thanks for testing!
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One question about the peak light on the front of the 70d. Is it user selectable? Meaning, I can choose what level I want the peak LED to go on at? Id like my peak LED to go on at about -6 or so. Or is it already a flat number that Tascam chose beforehand?
TIA!
Bean
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One question about the peak light on the front of the 70d. Is it user selectable? Meaning, I can choose what level I want the peak LED to go on at? Id like my peak LED to go on at about -6 or so. Or is it already a flat number that Tascam chose beforehand?
TIA!
Bean
No you cannot select what level you would like the peak lights to go on.
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Just got my DR-70D earlier this week and ran it last night for the Ed Palermo Big Band. Loved using this recorder! Was a snap to run, although I do run this from a Sound Devices 552 as my pre and mixer.
End result was a damn fine recording of a Big Band playing mostly Zappa music.
The ergo factor for me, having this work with the bag I use, made it even better.
For the price, I am definitely a happy taper.
The screen is detailed pretty good in regard to where the 0DB mark would be and as I noted in running it from a mic pre, it was a pleasure using this unit.
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Anyone have thoughts on practical battery capacity?
In most cases - my 13000mAh battery will probably never reach half discharged.
Its about the size of a pack of Marlboro 100s - not big or a nuisance.
Maybe a few festivals I still attend might use its full capacity.
I noticed NewEgg had this little 3000mAh SCUD battery on sale this morning.
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620002
They look a LOT smaller.
I wonder if something like this might be practical for everyday opener+2 set headliner use?
Like 4 hours max?
Am I wrong to be concerned about not fully discharging a battery every so often?
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Anyone have thoughts on practical battery capacity?
In most cases - my 13000mAh battery will probably never reach half discharged.
Its about the size of a pack of Marlboro 100s - not big or a nuisance.
Maybe a few festivals I still attend might use its full capacity.
I noticed NewEgg had this little 3000mAh SCUD battery on sale this morning.
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620002
They look a LOT smaller.
I wonder if something like this might be practical for everyday opener+2 set headliner use?
Like 4 hours max?
Am I wrong to be concerned about not fully discharging a battery every so often?
Might be worth it to buy one of these and test. I get 9 hours with
http://www.amazon.com/gp/product/B009V5X1CE/ref=oh_aui_detailpage_o01_s00?ie=UTF8&psc=1
Which 13000mAh do you have?
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Might be worth it to buy one of these and test. I get 9 hours with
http://www.amazon.com/gp/product/B009V5X1CE/ref=oh_aui_detailpage_o01_s00?ie=UTF8&psc=1
Which 13000mAh do you have?
My 13000 is also a SCUD (model P130)
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Might be worth it to buy one of these and test. I get 9 hours with
http://www.amazon.com/gp/product/B009V5X1CE/ref=oh_aui_detailpage_o01_s00?ie=UTF8&psc=1
Which 13000mAh do you have?
My 13000 is also a SCUD (model P130)
Where did you get the 13000 model p130 from?
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Where did you get the 13000 model p130 from?
It was a NewEgg "Shell Shocker" deal a few weeks ago. It's referenced in this thread a few pages back.
For whatever reason NewEgg refers to them as "Fremo" - but the box says SCUD.
(The Charger they threw in with the deal says "Fremo" - but I think most of these come with no charger.)
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Am I wrong to be concerned about not fully discharging a battery every so often?
Not wrong. I think you want to fully exercise them at least periodically but it's not as muchof a problem with newer battery types. A smaller battery would work but what about not charging between short shows?
If you can't find a thread by searching, you might want to post a new thread in the Remote Power section and ask the question.
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How much run time did you get with
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620002
Battery is only 8 dollars not bad at all!
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How much run time did you get with
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620002
Battery is only 8 dollars not bad at all!
I just ordered that one today - so we'll see!
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How much run time did you get with
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620002
Battery is only 8 dollars not bad at all!
I just ordered that one today - so we'll see!
I missed the sale as it went up to 19 dollars. I am good with my battery. I tested to to last longer than 6 hours.
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So I am testing the tascam 70d with RAVPower® Element 10400mAh External Battery USB Portable Charger and the deck has been going over 10 hours without phantom power. I am using an Nbox platinum as the pre amp. I bet this battery lasts over 20 hours, which is fine for a festival..
http://www.amazon.com/gp/product/B009V5X1CE/ref=oh_aui_detailpage_o01_s00?ie=UTF8&psc=1
$21.00
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Anyone working out the cable nuances of this box?
For sure, having standard XLRs sticking out of each end of this thing blows.
I was looking at angle XLRs.
If you want to make a set of angle inputs for 3/4 - it looks like you have to make a mirror image (not twins) - so the cables orient symmetrically.
Not bad I guess, because you can reverse it and get an alternate angle.
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Anyone working out the cable nuances of this box?
For sure, having standard XLRs sticking out of each end of this thing blows.
I was looking at angle XLRs.
If you want to make a set of angle inputs for 3/4 - it looks like you have to make a mirror image (not twins) - so the cables orient symmetrically.
Not bad I guess, because you can reverse it and get an alternate angle.
for me I would go 12 o'clock or like you said mirror 11/1 because I would typically have it on end
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Has anyone compared this to the 680? Wondering if this has quieter pre's and phantom power. I'm looking to see if this recorder would work with an SPS200. Not sure if a previous poster got his answer on whether the DR70-D would be suitable or not.
At this price point and size, it would be a great alternative.
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Has anyone compared this to the 680? Wondering if this has quieter pre's and phantom power. I'm looking to see if this recorder would work with an SPS200. Not sure if a previous poster got his answer on whether the DR70-D would be suitable or not.
At this price point and size, it would be a great alternative.
I'm also interested in using the DR70-D with my SPS200 but as long as it doesn't have a function to gang the input levels it would be to fiddly. At least it should have an exact readout of input level settings (not input signal meant) like the SD 744T. With SPS200s we need matched input levels. Didn't have the DR680 this function? Maybe the better preamps make the new MK II an alternative, although not so compact?
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Has anyone compared this to the 680? Wondering if this has quieter pre's and phantom power. I'm looking to see if this recorder would work with an SPS200. Not sure if a previous poster got his answer on whether the DR70-D would be suitable or not.
At this price point and size, it would be a great alternative.
Dr680 uses the same pres and the dr60d and dr60d mkii. The pres on the dr70d are a significant jump up in quality
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^^ And I'm guessing the new pres in the DR-680mkII are also similar to what they are using in the DR-70d but don't know for sure, as well the DR-680mkII apparently will have the ability to gang inputs.
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I can ask what pres will be in the new 680
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I looked at Tascam's website earlier this week to compare the 60dmkii, the 70d, and the 680mkii. It looks to me like they are using the same Tascam HDDA preamps in all three models. I could be wrong ...
I also went into a Sam Ash store yesterday (it was in the area where I had to be on business) to look at the 22wl and 44wl. The sales guy said Tascam has changed so many things in so many models that he was having trouble keeping with with the changes--particularly when you factor in changes to the portastudio line.
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I can ask what pres will be in the new 680
That would be great. I would also be very interested to know how they differ from what's in the HS-P82 which gets very high marks in the preamp department.
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I looked at Tascam's website earlier this week to compare the 60dmkii, the 70d, and the 680mkii. It looks to me like they are using the same Tascam HDDA preamps in all three models. I could be wrong ...
I also went into a Sam Ash store yesterday (it was in the area where I had to be on business) to look at the 22wl and 44wl. The sales guy said Tascam has changed so many things in so many models that he was having trouble keeping with with the changes--particularly when you factor in changes to the portastudio line.
The DR-60D, DR-60DmkII, And the original DR-680 all use the same op amps.
The Tascam DR-70D was the first to upgrade to the NE5532 which is significantly better and quieter than the aforementioned. I have a call in to see if the new DR-680mkII has the newer upgraded chips.
I will report here once I have an answer.
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I looked at Tascam's website earlier this week to compare the 60dmkii, the 70d, and the 680mkii. It looks to me like they are using the same Tascam HDDA preamps in all three models. I could be wrong ...
I also went into a Sam Ash store yesterday (it was in the area where I had to be on business) to look at the 22wl and 44wl. The sales guy said Tascam has changed so many things in so many models that he was having trouble keeping with with the changes--particularly when you factor in changes to the portastudio line.
The DR-60D, DR-60DmkII, And the original DR-680 all use the same op amps.
The Tascam DR-70D was the first to upgrade to the NE5532 which is significantly better and quieter than the aforementioned. I have a call in to see if the new DR-680mkII has the newer upgraded chips.
I will report here once I have an answer.
Has anyone tested the pre amps in the Tascam 70 d?
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I looked at Tascam's website earlier this week to compare the 60dmkii, the 70d, and the 680mkii. It looks to me like they are using the same Tascam HDDA preamps in all three models. I could be wrong ...
I also went into a Sam Ash store yesterday (it was in the area where I had to be on business) to look at the 22wl and 44wl. The sales guy said Tascam has changed so many things in so many models that he was having trouble keeping with with the changes--particularly when you factor in changes to the portastudio line.
The DR-60D, DR-60DmkII, And the original DR-680 all use the same op amps.
The Tascam DR-70D was the first to upgrade to the NE5532 which is significantly better and quieter than the aforementioned. I have a call in to see if the new DR-680mkII has the newer upgraded chips.
I will report here once I have an answer.
Has anyone tested the pre amps in the Tascam 70 d?
How do you want them tested? I may have some time this week.
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I looked at Tascam's website earlier this week to compare the 60dmkii, the 70d, and the 680mkii. It looks to me like they are using the same Tascam HDDA preamps in all three models. I could be wrong ...
I also went into a Sam Ash store yesterday (it was in the area where I had to be on business) to look at the 22wl and 44wl. The sales guy said Tascam has changed so many things in so many models that he was having trouble keeping with with the changes--particularly when you factor in changes to the portastudio line.
Sam Ash was for ever a Zoom-only shop; last year they started rolling out our products, and TASCAM is working on a display booth that goes in the shops (see the TASCAM facebook page for a picture).
The main audio improvement in the DR-680mkII comes from the upgraded op-amp, including better EIN (lower noise)
Tom.
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It was the Sam Ash location in Rivergate (Nashville, TN). They were sold out of the 22wl, but they had one in a revolving display case I understand came from Tascam. The clerk also said Tascam had been purchased by Gibson, the guitar maker, in Nashville which I thought interesting.
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I looked at Tascam's website earlier this week to compare the 60dmkii, the 70d, and the 680mkii. It looks to me like they are using the same Tascam HDDA preamps in all three models. I could be wrong ...
I also went into a Sam Ash store yesterday (it was in the area where I had to be on business) to look at the 22wl and 44wl. The sales guy said Tascam has changed so many things in so many models that he was having trouble keeping with with the changes--particularly when you factor in changes to the portastudio line.
The DR-60D, DR-60DmkII, And the original DR-680 all use the same op amps.
The Tascam DR-70D was the first to upgrade to the NE5532 which is significantly better and quieter than the aforementioned. I have a call in to see if the new DR-680mkII has the newer upgraded chips.
I will report here once I have an answer.
That would be great. Please do report back when you find out. Thx
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Has anyone compared this to the 680? Wondering if this has quieter pre's and phantom power. I'm looking to see if this recorder would work with an SPS200. Not sure if a previous poster got his answer on whether the DR70-D would be suitable or not.
At this price point and size, it would be a great alternative.
I'm also interested in using the DR70-D with my SPS200 but as long as it doesn't have a function to gang the input levels it would be to fiddly. At least it should have an exact readout of input level settings (not input signal meant) like the SD 744T. With SPS200s we need matched input levels. Didn't have the DR680 this function? Maybe the better preamps make the new MK II an alternative, although not so compact?
Yeah, the 680 does quite well with the SPS200. Though I'm unhappy with its performance in high gain situations (noise!). I'm looking to downsize my rig size. I offroad a lot to many of my recording locations. Smaller packages are extremely welcome. I may just pick up the MKii when it's available (I destroyed two channels on my 680), but was hoping the DR70D would fit the bill.
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Am I wrong to be concerned about not fully discharging a battery every so often?
Not wrong. I think you want to fully exercise them at least periodically but it's not as muchof a problem with newer battery types.
It's my understanding that lithium batteries shouldn't be fully discharged. It's of no benefit and could actually harm the battery (although they have some type of protective circuit to prevent that). That's from a gear maker friend; I trust his opinion but I don't really know anything about batteries myself!
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Am I wrong to be concerned about not fully discharging a battery every so often?
Not wrong. I think you want to fully exercise them at least periodically but it's not as muchof a problem with newer battery types.
It's my understanding that lithium batteries shouldn't be fully discharged. It's of no benefit and could actually harm the battery (although they have some type of protective circuit to prevent that). That's from a gear maker friend; I trust his opinion but I don't really know anything about batteries myself!
Unit works great off of a USB powered battery
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Just got back on the the taping bandwagon after a 1yr or so layoff and picked this up as a gift to myself with fantasy football winnings. ;D
Impressive unit for the price.
Testing it now with 4 new energizer 2600 AA rechargebles with 24V phantom power...1st time charged the batts and at the 2:29 mark and still recording...so not bad. Have a small sliver left and set to nimh battery setting. I will probably want a backup and am looking now for one. Thanks for all the tips in prior posts. I have a smaller 4800mah backup that i use to charge my android. Waiting for the battery low so i can switch on the backup to see if there are any negative side effects.
I highly recommend the Reference manual on tascams's site for some additonal reading as it has some info the manual that came boxed does not cover. It answered a few questions that I was having. Such as:
Meters...was wondering where the meters where since there are no number markings...there is a bolded down arrow thing and per the reference manual this is -16dB
Peak light...If i understand this correcly the peak lights (near the gain knobs) only light when using a mic input, not when using a line input...from pg 6:
1/L knob and PEAK indicator – Use this knob to adjust the input level from the 1/L connector on the left side of the unit. The 1/L PEAK indicator lights when the 1/L input level is about to cause distortion. This also lights if distortion occurs in the analog circuitry during mic input. This will not light, however, if distortion occurs in the analog circuitry during line input. (See “Adjusting the input level” on page 19.)
Do I have that right? Anyone tested the peak light with line in while recording, does it light up?
Also I wish they told us where exactly the point the peak light comes on instead of just "about to cause distortion".
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Pretty sure I had the peak light going off when doing some cassette transfers via RCA > 1/8 input on channels 1/2
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I highly recommend the Reference manual on tascams's site for some additonal reading as it has some info the manual that came boxed does not cover. It answered a few questions that I was having. Such as:
Meters...was wondering where the meters where since there are no number markings...there is a bolded down arrow thing and per the reference manual this is -16dB
Peak light...If i understand this correcly the peak lights (near the gain knobs) only light when using a mic input, not when using a line input...from pg 6:
1/L knob and PEAK indicator – Use this knob to adjust the input level from the 1/L connector on the left side of the unit. The 1/L PEAK indicator lights when the 1/L input level is about to cause distortion. This also lights if distortion occurs in the analog circuitry during mic input. This will not light, however, if distortion occurs in the analog circuitry during line input. (See “Adjusting the input level” on page 19.)
Do I have that right? Anyone tested the peak light with line in while recording, does it light up?
Also I wish they told us where exactly the point the peak light comes on instead of just "about to cause distortion".
What the manual is referring to is that if the signal is overloaded within the Tascam using your mics it will show as such, but if the signal is overloaded in the preamp or whatever is feeding the line in (because something would be boosting a line signal), that will not and cannot be detected. This is always the case, although I may not be explaining it exactly right.
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ok so if i'm brickwalling a preamp which is feeding line into the 70d, then peak lights on the 70d will not light. gotcha. unless the 70d is brickwalling too. Ha.
So my 4 x AA rechargeable test failed....it started a new file at the 2 gig mark when i was getting lunch. When I came back battery meter was just the tiniest sliver and over 1hr 30min into the next file so i just turned it off. Didn't want to fully discharge a brand new set of batts. Must have been at least 5 hours on the rechargeables with 16/44.1 and 24V phantom power.
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I recorded a friends band the other night with my FP24 > XLR Out Interconnects > Tascam DR-70D XLR In on channels 3/4 and the peak lights were going off on the DR-70D. Got home and listened to the recording and the recording was perfect with no distortion or brick walling, etc.
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Had my first outing with the 70D on Saturday night. Ran 24/44.1 for DtB. Ran JK Labs DVC line in to the 70D via rca>xlr cable. Like a dumbass I had all 4 tracks in record on mode, but only needed tracks 1&2. So tracks 3&4 recorded but nothing was there. I did have 3&4 set to line in input also.
It's gonna take me a bit to get the levels right. I was using the -16dB arrow as a guide and just barely going over it, but in the DAW it is obvious that is a bit too conservative. Next time I will try the dual record mode set at -3dB and try to get 1&2 levels closer to 0dB. Live and learn and nothing I can't fix in post.
Ran the Landreth Bros opening band for 45 min and Donna for almost 2 hours on the new 4xAA engergizer rechargeables and still had life left to listen in the car on the way home. Backup usb battery was available but not used for this gig.
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I seem to recall the peak lights will flash on my 60d even though it isn't clipped.
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I seem to recall the peak lights will flash on my 60d even though it isn't clipped.
It would be helpful if Tascam had bothered to document the level at which the Peak Indicators light up. Unfortunately, they didn't (shocking!).
Peak indicators are often calibrated differently. Some recorders and A/D's will only indicate a true peak (i.e. the signal has reached and exceed 0 dBFS - dB full scale), but more commonly peak indicators are calibrated to activate anywhere from -1dB to -3dB. Even better, some units will even let you adjust the Peak indicators (like the 7xx series). For folks that have used older units like the SBM-1, a good rule of thumb has always been that the peak indicators should "dance" a bit with occasional blinks, but never solidly illuminated.
My guess is that Tascam has calibrated it for the latter and that you've still got a small bit of headroom when the Peak indicators light up.
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The Peak level indicator point is different depending on whether the limiter is on or off.
With the limiter ON, the peak indicator can show a peak that the limiter brought into control, but there will be some transients that are so short that the limiter doesn't get them fully.
With the limiter OFF, it should show peaks at -0.13dBFS.
The limiter settings are fixed. 0.08ms attack / 100ms release. Threshold -1dB , ratio inf:1 Hybrid digital/analog (using analog headroom, which is why the peak indicator works differently when engaged).
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The Peak level indicator point is different depending on whether the limiter is on or off.
With the limiter ON, the peak indicator can show a peak that the limiter brought into control, but there will be some transients that are so short that the limiter doesn't get them fully.
With the limiter OFF, it should show peaks at -0.13dBFS.
The limiter settings are fixed. 0.08ms attack / 100ms release. Threshold -1dB , ratio inf:1 Hybrid digital/analog (using analog headroom, which is why the peak indicator works differently when engaged).
Where did you find this information? I reviewed the manual and didn't see anything similar.
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Where did you find this information? I reviewed the manual and didn't see anything similar.
I believe Tom works for Tascam.
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Personally I'd be glad to see participation by other companies too in this forum, particularly when clarifications on technical matters are needed. We've spent pages in back and forward arguments about how some aspects of other devices work, when a couple of lines from a company rep would lay the matter to rest right away (though perhaps that might spoil the fun?!). As long as companies don't try to set the agenda here, (for instance by starting threads pushing products), as far as I am concerned they are more than welcome. Tom's contributions have already been extremely helpful.
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Personally I'd be glad to see participation by other companies too in this forum, particularly when clarifications on technical matters are needed... Tom's contributions have already been extremely helpful.
I agree, especially when the information is as specific and helpful as what Tom provided. My apologies as I don't follow these threads closely enough to know tomuo's affiliations. Peak indicator functionality is quite important and I'm obviously dismayed that this information isn't published in the manually, but it's certainly nice to be able to answer those kinds of knowledge gaps directly on this forum.
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Toms comment mirrors my experience so far.
I've seen the peak light light up - but no "over" on the LCD.
It's close - but the LED lights first.
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ok so if i'm brickwalling a preamp which is feeding line into the 70d, then peak lights on the 70d will not light. gotcha. unless the 70d is brickwalling too. Ha.
So my 4 x AA rechargeable test failed....it started a new file at the 2 gig mark when i was getting lunch. When I came back battery meter was just the tiniest sliver and over 1hr 30min into the next file so i just turned it off. Didn't want to fully discharge a brand new set of batts. Must have been at least 5 hours on the rechargeables with 16/44.1 and 24V phantom power.
Did you do a "break in" on the new AAs before using them? If I/you don't do a proper "break in" on my kickass Maha Powerex charger, then the batts don't get anywhere near their max capacity!!! You could also cycle them 5-6 times to do the break in too! Once you do the break in (which takes a few days for every [4] batteries it does at once), then it'll start to give you consistent results ;) I couldn't praise my $50-$60 charger anymore. It does the break in, a refresh/analyze function, and charging functions, so basically, it does everything you'd ever need a AA/AAA charger to do ;) My AAs are 5 years old, and they still hold an 80% charge, which is amazing IMO ;D
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How much run time did you get with
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620002
Battery is only 8 dollars not bad at all!
I just ordered that one today - so we'll see!
The SCUD "Hobbit" arrived - nice aluminum case - basically a cell phone battery in a case.
I topped off the charge - (seemed partially charged, didnt take long.)
I ran 4 channels @ 44/24 w/2 phantom on - well over 3 hours...but made the mistake of starting this test too late - and fell asleep!
So - I'll check the last file length - my internals were about half - so it couldn't have run too long on those.
Recharging now - I'll repeat the runtime experiment with this, more proper, charge cycle.
The one drawback on this battery is it has a power button. - So you'd have to be careful digging around in your bag.
That said - the button is stiff and requires a solid poke - and its somewhat protected by the USB output cable.
(but something to look out for when shopping for these batteries)
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How much run time did you get with
http://www.newegg.com/Product/Product.aspx?Item=N82E16875620002
Battery is only 8 dollars not bad at all!
I just ordered that one today - so we'll see!
The SCUD "Hobbit" arrived - nice aluminum case - basically a cell phone battery in a case.
I topped off the charge - (seemed partially charged, didnt take long.)
I ran 4 channels @ 44/24 w/2 phantom on - well over 3 hours...but made the mistake of starting this test too late - and fell asleep!
So - I'll check the last file length - my internals were about half - so it couldn't have run too long on those.
Recharging now - I'll repeat the runtime experiment with this, more proper, charge cycle.
The one drawback on this battery is it has a power button. - So you'd have to be careful digging around in your bag.
That said - the button is stiff and requires a solid poke - and its somewhat protected by the USB output cable.
(but something to look out for when shopping for these batteries)
Re-running my runtime test with a a fresh charge.
I hit something like 4 hours and 20 minutes before the blue light on the battery began to fade.
4 channels @ 44/24 w 2 channels of phantom running my APEX 435 LDs.
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Should I use line attenuators going XLR line out of Shure fp24 into the dr70? Had fp24 at 9 o'clock and channels 3/4 dials barely on and my levels were peaking around -14dB but had big clipping spikes peppered throughout the recording. I also had the limiter on tascam engaged.???
Was the pre overloading the tascam unit? If I turned up pre any further the tascam would have been peaking like crazy.
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Should I use line attenuators going XLR line out of Shure fp24 into the dr70? Had fp24 at 9 o'clock and channels 3/4 dials barely on and my levels were peaking around -14dB but had big clipping spikes peppered throughout the recording. I also had the limiter on tascam engaged.???
Was the pre overloading the tascam unit? If I turned up pre any further the tascam would have been peaking like crazy.
Sounds like XLR outs - Probably need to try the tape out...
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Should I use line attenuators going XLR line out of Shure fp24 into the dr70? Had fp24 at 9 o'clock and channels 3/4 dials barely on and my levels were peaking around -14dB but had big clipping spikes peppered throughout the recording. I also had the limiter on tascam engaged.???
Was the pre overloading the tascam unit? If I turned up pre any further the tascam would have been peaking like crazy.
Sounds like XLR outs - Probably need to try the tape out...
Yeah the tape out works fine but I am wanting to use the XLR line out if possible too since I have the interconnects to do so. I think I would just need line attenuators but am not sure which is why I posted my above scenario. My hope is to feed two different devices from the fp24 (one on tape out to my M10 and the XLR line out to DR70). Does it sound like attenuators would solve the problem I had? Anyone with experience in this area?
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Should I use line attenuators going XLR line out of Shure fp24 into the dr70? Had fp24 at 9 o'clock and channels 3/4 dials barely on and my levels were peaking around -14dB but had big clipping spikes peppered throughout the recording. I also had the limiter on tascam engaged.???
Was the pre overloading the tascam unit? If I turned up pre any further the tascam would have been peaking like crazy.
Sounds like XLR outs - Probably need to try the tape out...
Yeah the tape out works fine but I am wanting to use the XLR line out if possible too since I have the interconnects to do so. I think I would just need line attenuators but am not sure which is why I posted my above scenario. My hope is to feed two different devices from the fp24 (one on tape out to my M10 and the XLR line out to DR70). Does it sound like attenuators would solve the problem I had? Anyone with experience in this area?
The TASCAM XLR ins should be on "Low" input settings (under "Basic" menu)
And set the input to "Line" under ("Input" menu)
You'd think the TASCAM could take a pro-level input?
Lots of threads about the hot outs on that pre - so perhaps attenuators are the answer.
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Yep, Had Low And Line Settings on Tascam unit. I will try line attenuators for LoS in a couple weeks and see if that is the culprit.
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Attenuators should do the trick! I'm kinda screwed with using attenuators since all of my cables are KCY Binder plugs. I do have some new PFAs, so I wonder if attenuating a PFA is possible? Sorry that's off topic! But yeah, attenuators should fix your issue IMO!
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I just did a test : AT2050 / MixPre-D (not an FP24 but close enough) / Tascam DR-70D
MixPre-D was line out on the XLR, the DR-70D was line in on the XLR. Tascam's gain on "low" and input gain on "line".
First used the 1000 Hz tone from the MixPre-D to calibrate the DR-70D level : knob at 11 o'clock (slightly less) on the Tascam gives -20dBfs on the recorder.
Then tried with the mic : at 0 on the MixPre-D I still am at -20dBfs on the Tascam. The knob on the MixPre-D is at 11 o'clock.
It seems to work as it should and the levels are reasonable.
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Here is my issue from the fp24 > XLR Out > DR70D channels 3/4 Line In/Low Gain
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It's odd how much higher the peaks/spikes are compared to the non-peaked portions.
You'd think it would be more uniformly peaked if you were running as hot as you say.(or as it looked)
Doesn't look like a case of simple brick walling/overload.
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I just did a test : AT2050 / MixPre-D (not an FP24 but close enough) / Tascam DR-70D
MixPre-D was line out on the XLR, the DR-70D was line in on the XLR. Tascam's gain on "low" and input gain on "line".
First used the 1000 Hz tone from the MixPre-D to calibrate the DR-70D level : knob at 11 o'clock (slightly less) on the Tascam gives -20dBfs on the recorder.
Then tried with the mic : at 0 on the MixPre-D I still am at -20dBfs on the Tascam. The knob on the MixPre-D is at 11 o'clock.
It seems to work as it should and the levels are reasonable.
So I just did the 1000 hz tone from FP24 into DR70D and I was also at the same -20dBfs.
When I plugged in peluso cemc6 mics (no mic pads engaged), kept DR70D channel 3/4 dials at 11 o'clock (as above), and FP24 gain at 11 o'clock as well...my levels registering on DR70D were at -36dBfs.
Sound right?!?!?
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Looking at the graphs, spikes happen on both channels at the same time so :
- mics are probably not the problem
- any cable or device between mics and preamp are probably not the culprits
- same thing for the XLR/XLR cables between the preamp and recorder
This leaves as potential culprits :
- real sound signal but you would hear it (unless it is near range sub-bass or highs but it does not look like it and I understand you made different tests so this is probably not the cause)
- interference with an other electronic device (if you tried in different locations this could probably be ruled out)
- glitches in the FP24 (I'd check power first : power in and phantom)
- glitches in the recorder (I'd check 1 and 2 XLR in)
To try and isolate the cause :
- redo the test with the same equipment in a totally different place with no live cell phones anywhere near and power from internal batteries only (testing for environment problems)
- same test with the external power supply if you used one.
- a test line level in the recorder's XLR from another device than the FP24 (if this works, the culprit is very probably the FP24)
- maybe a test with mics connected directly to the recorder (just to be sure the mics and mic cables are working properly)
- a test with line level signal into the FP24 (if this is OK it leaves the possibility of phantom power plus mic preamps on the FP24)
- a test with a dynamic mic if you have one (if this works, the problem is probably due to phantom power on the FP24)
It might help to gently move the XLR in or out connectors on the FP24 during part of the tests to check for bad contacts.
(Edited to include test of possible interference from an external power supply and clarification of the interpretation of last tests)
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Just for reference - here's what out of control (too high) levels look like on the DR-70D.
At show start, my 3/4 were peaking wildly.
I had the knobs almost all the way off - in fact - you can see where I went a little too low and channel 4 went off completely for a second.
In this case - the pair on 3/4 were on high gain and mic/w/phantom. Had to pause and switch to low.
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This leaves as potential culprits :
- real sound signal but you would hear it (unless it is near range sub-bass or highs but it does not look like it and I understand you made different tests so this is probably not the cause)
- interference with an other electronic device (if you tried in different locations this could probably be ruled out)
- glitches in the FP24 (I'd check power first : power in and phantom)
- glitches in the recorder (I'd check 1 and 2 XLR in)
To try and isolate the cause :
- redo the test with the same equipment in a totally different place with no live cell phones anywhere near and power from internal batteries only (testing for environment problems)
- same test with the external power supply if you used one.
- a test line level in the recorder's XLR from another device than the FP24 (if this works, the culprit is very probably the FP24)
- maybe a test with mics connected directly to the recorder (just to be sure the mics and mic cables are working properly)
- a test with line level signal into the FP24 (if this is OK it leaves the possibility of phantom power plus mic preamps on the FP24)
- a test with a dynamic mic if you have one (if this works, the problem is probably due to phantom power on the FP24)
It might help to gently move the XLR in or out connectors on the FP24 during part of the tests to check for bad contacts.
This leaves as potential culprits :
- real sound signal but you would hear it - NOPE
- interference with an other electronic device (if you tried in different locations this could probably be ruled out) - Doubt It Because I Have Never Had An Issue With This Before
- glitches in the FP24 (I'd check power first : power in and phantom) - Doubt It - Never Had An Issue
- glitches in the recorder (I'd check 1 and 2 XLR in) - I Will Check This
To try and isolate the cause :
- redo the test with the same equipment in a totally different place with no live cell phones anywhere near and power from internal batteries only (testing for environment problems) - No One Was By Me And My Cell was off, so unlikely
- same test with the external power supply if you used one. - I Will Try This however I did have a fresh fully charged set of envelops in the fp24
- a test line level in the recorder's XLR from another device than the FP24 (if this works, the culprit is very probably the FP24) - I Will try this
- maybe a test with mics connected directly to the recorder (just to be sure the mics and mic cables are working properly) - No Problem Here
- a test with line level signal into the FP24 (if this is OK it leaves the possibility of phantom power plus mic preamps on the FP24)I will try this
- a test with a dynamic mic if you have one (if this works, the problem is probably due to phantom power on the FP24) I will try this if I can find my mic
It might help to gently move the XLR in or out connectors on the FP24 during part of the tests to check for bad contacts. - No Problem Here
Thanks for your input and suggestions. I have never ever had a problem with fp24 in the last several years so I am inclined to think it is not a problem with the pre or the power source since everything works properly and the tape out of the fp24 to a second deck worked perfectly. It was only the XLR line outs that presented a problem into the DR70D. That is why I thought I may need attenuators possibly. I will try to get some more tests done but I may just have to run everything again at the LoS show next week and just triple check all my settings on the DR70D. I dunno. I tend to believe it may have been operator error somehow ::)
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The wav looks more like some malfunction - not any problem with your settings.
Like its recording fine and then bam bam bam...and then fine again.
What does it sound like?
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Just for reference - here's what out of control (too high) levels look like on the DR-70D.
At show start, my 3/4 were peaking wildly.
I had the knobs almost all the way off - in fact - you can see where I went a little too low and channel 4 went off completely for a second.
In this case - the pair on 3/4 were on high gain and mic/w/phantom. Had to pause and switch to low.
I had that happen to me when I was going from a pre amp to the deck. I changed the setting on channel 1 2 to line and the last setting, I forget the category name but it has be set to ext. power. Hope that helps!
This was with the Altec 626s which I was running for the first time - I was also running the Audix 1280s - but I've run them several times with the DR-70D and know they need to be on low for loud rock.
But the Altecs (like all the Nak/TEAC/Primo mics) have a lower output - and I deluded myself at soundcheck that I might need the "high" setting...but as soon as the band started - WRONG!
I think that "ext power" is for 1/2 and turns on PiP?
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The wav looks more like some malfunction - not any problem with your settings.
Like its recording fine and then bam bam bam...and then fine again.
What does it sound like?
Are you referring to my post here?
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The wav looks more like some malfunction - not any problem with your settings.
Like its recording fine and then bam bam bam...and then fine again.
What does it sound like?
Are you referring to my post here?
Yes sir - not sure how we got confused! (sorry jmerin)
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The wav looks more like some malfunction - not any problem with your settings.
Like its recording fine and then bam bam bam...and then fine again.
What does it sound like?
Are you referring to my post here?
Yes sir - not sure how we got confused! (sorry jmerin)
Here is a quick DL link to give a listen:
http://we.tl/ktVnWyLUBd
Any feedback is appreciated of course!
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It sounds like (static) cracks and not like something to do with recording levels that are rather low in fact apart from those spikes. Faulty component somewhere in the FP24 or the DR-70D ?
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It sounds like (static) cracks and not like something to do with recording levels that are rather low in fact apart from those spikes. Faulty component somewhere in the FP24 or the DR-70D ?
Will try and run some test again today. Pretty sure it is not tascam unit as I can run xlrs directly I to it with no issue as I did the very next day. I just got brand new interconnect cables from darktrain that could possibly be the issue I dunno just thinking aloud here? There is the off chance that I may have had the mic in on tascam unit instead of line but I pretty sure I had line.
Would the above sample possibly be a result of accidentally having mic in or would that present itself differently? Maybe that could explain why levels on both the ore and the dr70 were barely on to compensate for a hot mic signal?
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So I just did a couple more tests and everything seems fine while recording my stereo. I had good levels, no distortion or clipping even when I jiggled the mic cables and interconnects from pre and on DR70D side.
One question and I assume I know the answer already, but I want to keep the gain as low as possible on Tascam unit and use as much gain from the FP24 as possible, correct?
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It sounds like (static) cracks and not like something to do with recording levels that are rather low in fact apart from those spikes. Faulty component somewhere in the FP24 or the DR-70D ?
Will try and run some test again today. Pretty sure it is not tascam unit as I can run xlrs directly I to it with no issue as I did the very next day. I just got brand new interconnect cables from darktrain that could possibly be the issue I dunno just thinking aloud here? There is the off chance that I may have had the mic in on tascam unit instead of line but I pretty sure I had line.
Would the above sample possibly be a result of accidentally having mic in or would that present itself differently? Maybe that could explain why levels on both the ore and the dr70 were barely on to compensate for a hot mic signal?
Doesn't sound like a gain issue [low/high] on the 70D IMO! It sounds like a cable issue to me! Its weird because it has no highend either ??? But I would bet the farm its a cable issue or something with your fp24, since you said you ran mics directly into the 70D with no issues!
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It sounds like (static) cracks and not like something to do with recording levels that are rather low in fact apart from those spikes. Faulty component somewhere in the FP24 or the DR-70D ?
Will try and run some test again today. Pretty sure it is not tascam unit as I can run xlrs directly I to it with no issue as I did the very next day. I just got brand new interconnect cables from darktrain that could possibly be the issue I dunno just thinking aloud here? There is the off chance that I may have had the mic in on tascam unit instead of line but I pretty sure I had line.
Would the above sample possibly be a result of accidentally having mic in or would that present itself differently? Maybe that could explain why levels on both the ore and the dr70 were barely on to compensate for a hot mic signal?
Doesn't sound like a gain issue [low/high] on the 70D IMO! It sounds like a cable issue to me! Its weird because it has no highend either ??? But I would bet the farm its a cable issue or something with your fp24, since you said you ran mics directly into the 70D with no issues!
Hey Bean check out my post directly above yours. I had no cable issue while doing the home test just now. I even jiggled the cables on the mics and the pre interconnects out of fp24. I'm thinking it was some sort of operator error on my part now at the show.
Does anyone know if I accidentally had mic in instead of line if that would make it sound the way it did or account for why my levels on pre and deck were barely on? The more I think about it, the more I think I mucht have had the mic in setting on on the tascam instead of line.
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One question and I assume I know the answer already, but I want to keep the gain as low as possible on Tascam unit and use as much gain from the FP24 as possible, correct?
I would not put it exactly like that. The aim is to amplify the signal once at the start of the chain and then try for unity gain as you follow the signal from one device to the next. In your case amplify the mics signal with the FP24 and try to set the Tascam for unity gain.
This is the point with the 1000Hz generator procedure : this signal shows as 0dB on the FP24 and should be -20dB(FS) on the Tascam. Once the gain on the recorder is adjusted it should be left alone and the gain adjustment should be done exclusively with the FP24 gain control knobs so that you get a nice signal that goes a bit over the 0dB on the FP24 (limit according to taste and high sound volumes risk).
Now rules are made to be broken when you have a good reason to do so (including the pleasure to break the rules) ...
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Ahh well that's good news ;D Could've been user error, because it happens to all of us! And with the 70D having such good preamps and chips in it, don't be afraid to keep the gain lower on your fp24 and using more gain on the 70D ;) I've accidentally had the M10 at 10 on its gain, and the LB higher, and I didn't notice anything bad audibly ;) I'm stuck with my vms having a fixed +20db of gain, so my M10 is usually at 2-3! But since the fp24 has such hot gain on its XLR outs, I'd run the fp24 more conservatively and use the rest of the gain from the 70D :) That way its kind of like a safety net, meaning you wouldn't overload the fp24 or the 70D ;)
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If the recorder is expecting to receive a "mic" signal which is at a very low level compared to "line" which is going to come in much higher i would think this could easily cause problems but probably depends on how the recorder implements things. The FP24 has already brought the mic signal up to line level and then is passing that higher level onto the recorder. If the recorder then tries to do that as well...
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One question and I assume I know the answer already, but I want to keep the gain as low as possible on Tascam unit and use as much gain from the FP24 as possible, correct?
I would not put it exactly like that. The aim is to amplify the signal once at the start of the chain and then try for unity gain as you follow the signal from one device to the next. In your case amplify the mics signal with the FP24 and try to set the Tascam for unity gain.
This is the point with the 1000Hz generator procedure : this signal shows as 0dB on the FP24 and should be -20dB(FS) on the Tascam. Once the gain on the recorder is adjusted it should be left alone and the gain adjustment should be done exclusively with the FP24 gain control knobs so that you get a nice signal that goes a bit over the 0dB on the FP24 (limit according to taste and high sound volumes risk).
Now rules are made to be broken when you have a good reason to do so (including the pleasure to break the rules) ...
So with the 1khz tone off the fp24 it puts my DR70D at -20dB. Is that unity for the Tascam unit?
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It should be as this is the aim of this calibration process.
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Do the line XLR output of the FP24 add gain at all? I am just curious because folks with mixers and mp-2s say they have +16dB of gain no matter what. I know the gain of the FP24 can be dialed down to 0 but I am curious if coming XLR out of the line outputs if any additional gain is introduced.
Sorry for all the questions
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It sounds like (static) cracks and not like something to do with recording levels that are rather low in fact apart from those spikes. Faulty component somewhere in the FP24 or the DR-70D ?
Yes, static, not music causing this.
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Would the above sample possibly be a result of accidentally having mic in or would that present itself differently? Maybe that could explain why levels on both the ore and the dr70 were barely on to compensate for a hot mic signal?
Unlikely. If you did that - you're whole waveform would be spiked out...this looks like someone playing a snare drum under your mics. (plus you can hear the clicks)
The actual signal between the spikes seems low - I think by trying to adjust your peaks to the spike level - you dialed your levels down too low.
So your compensating for a bad noise - not music.
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One question and I assume I know the answer already, but I want to keep the gain as low as possible on Tascam unit and use as much gain from the FP24 as possible, correct?
Since the TASCAM will turn the levels all the way down/off - this seems risky.
I'd like to turn my knobs to at least 9 or 10 o'clock...in any config.
In the screen shot I posted...it looked like my DR70 was going to explode...red light going crazy. (as you can see - I got the knob down so far, one channel turned off completely).
That said - the signal seems pretty clean...but I was MUCH more comfortable once I got the gain range presets right. (granted I was not using an outboard pre)
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Yeah I have the deck dialed in when run I the mics directly into the unit. The only issue was when I introduced the pre before it. I hope I have it figured out now. I guess I will know at next weeks leftover show (Fat Tuesday Baby!!!!)
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http://www.portabrace.com/products/audio/recorders/1212-ar-dr70d
The AR-DR70D is a custom-fit protective case and rain cover for the Tascam DR70D recorder. The case is made made from waterproof and breathable nylon Taslan material, and complemented by a soft tricot interior that won't scratch your DR70D. The Taslan material is both waterproof (1000mm waterproof rating), and breathable (1000G/M² breathability rating), which is designed to keep your recorder dry while also allowing for heat to escape.
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Nice that they made a Porta Brace for the DR-70D, but it offers nothing more than it being a protective sleeve at a high cost. Don't get me wrong, as it's great for a small carry type audio bag for the recorder, especially if you are not doing extended run times on AA batteries. Would have been nice if they opted to have accessory bag with a Velcro tie-in on the options. Pic's are pretty dark, so maybe it offers it and I am not seeing it?
You could score a bag with a bit extra space, such as for your outboard battery at B&H with a Petrol PS617 for a savings of $30.
http://www.bhphotovideo.com/c/product/902128-REG/Petrol_ps617_Lightweight_Audio_Bag_Large.html (http://www.bhphotovideo.com/c/product/902128-REG/Petrol_ps617_Lightweight_Audio_Bag_Large.html)
They are discontinued, so they are going pretty quick.
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DR-70D / DR-680 Size comparison.
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Thanks for the pic
Still don't like the xlr set up
For line/camera out, is there a menu setting to select it? The 60 has two ports with volume knobs so they are both active at once which can be useful
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I was playing with recording 4 tracks last night, and I couldn't figure out a way to playback just two channels at a time, is there a way to do this or is it something that needs to be done on a computer after the show?
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I was playing with recording 4 tracks last night, and I couldn't figure out a way to playback just two channels at a time, is there a way to do this or is it something that needs to be done on a computer after the show?
Havent/ been able to figure that out either. I think you have to transfer first.
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OK, so I recorded Leftover Salmon this past Tuesday in Durango. I again had the same spikes in the audio that I previously described above (though not nearly the same frequency of them occuring). I was running low gain/line in on the DR70 on all channels. I have the FP-24 calibrated correctly to -20dbfs with the Tascam.
The spikes only occur on the audio coming XLR line out of the FP-24 into channels 3/4 on the Tascam unit.
This morning I started running some additional tests trying to isolate the issue.
1.) I ran a dual XLR to 1/8" stereo cable Line Out of the FP-24 for an hour into channels 1/2 on the Tascam unit with absolutely no issue. So, I believe, this rules out the FP-24 output being the issue.
2.) I ran my Mics > XLR Cables directly into channels 3/4 on the Tascam using Phantom from the Tascam deck with no issue. So I know channels 3/4 XLR input on the Tascam works fine.
3.) I am currently running another test using the newest addition to my rig, Darktrain XLR interconnects, from XLR Line Out of FP-24 into channels 3/4 on Tascam Unit to see if the spikes are present. This is what I have done at the last couple shows when the spikes have been present. At this point, I am thinking it may be the interconnect cable since I ruled out the above tests.
EDIT: No static at home doing this third test either. I even jiggled the mic cables and interconnect cables around pretty good and could not reproduce the spikes. Once again I am at a total loss.
Can anyone else think of any other tests I could run in addition to the above?
I am thinking I will re-calibrate the gain on the Tascam unit to -18dbfs with the FP24 to see if I was somehow overloading the unit?
I dunno, I thought i would be able to replicate the problem but not maybe it is only being caused at higher dB levels found only at a live show?????
Thanks for any input.
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I would try running fp24>mini input on channels 1/2 at the next show, since both times it happened, you were running XLR out of the fp24, and not the mini out!
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I would try running fp24>mini input on channels 1/2 at the next show, since both times it happened, you were running XLR out of the fp24, and not the mini out!
That's my plan
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When I first bought my FP24 and posted here asking for advice, I was told by several members that the XLR line outputs are very hot, and that I especially should never go XLR out > 1/8" mini in as those sort of inputs expect a much lower level. You did try it with the XLR inputs on your DR70D though. Maybe your tests at home are not giving you realistic levels like you would have at a concert? Could it be possible that the DR70D cannot handle the level even when set to low-gain / line-in? I would try the Tape Out as Bean suggests.
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When I first bought my FP24 and posted here asking for advice, I was told by several members that the XLR line outputs are very hot, and that I especially should never go XLR out > 1/8" mini in as those sort of inputs expect a much lower level. You did try it with the XLR inputs on your DR70D though. Maybe your tests at home are not giving you realistic levels like you would have at a concert? Could it be possible that the DR70D cannot handle the level even when set to low-gain / line-in? I would try the Tape Out as Bean suggests.
I was able to set my levels fine at home test going XLR out of FP24 > 1/8" in On Tascam (peaking @ -5dB). Actually everything seems to work fine when I do tests at home. All configurations. I think it may have something to do with how loud a show volume gets vs. how loud my home test on my stereo can get.
the weird thing is that I had a relatively controlled environment at the Leftover show. I was set up in an area that was rather isolated above the soundboard on the balcony. I had a good 10' bubble around me with no one else around and my bag and cables did not move at all so there was no accidental moving of cables etc. My phone was turned off etc.
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I've read through the thread, and my question, perhaps a dumb one, is basic. Is the DR-70 a viable option for us as tapers?
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I've read through the thread, and my question, perhaps a dumb one, is basic. Is the DR-70 a viable option for us as tapers?
Most definitely yes! The thing works flawlessly when I run directly into it using all channels.
My issue that I am trying to correct is that when I run my pre in front of it specifically.
I'm confident I'll figure it out one way or another!
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I've read through the thread, and my question, perhaps a dumb one, is basic. Is the DR-70 a viable option for us as tapers?
Most definitely yes! The thing works flawlessly when I run directly into it using all channels.
My issue that I am trying to correct is that when I run my pre in front of it specifically.
I'm confident I'll figure it out one way or another!
Sorry if I missed it, but have you tried running the FP24's XLR outs AND the 3.5mm out at the same time into the 70D?
Seems like you could do that (especially until you figure this out, so you'll have backup tracks). That may help narrow down the problem. Can you do some tests in a controlled environment (i.e. living room or studio)? Play some music with lots of low frequency energy at high volume, and place your mics very close to the source.
Also - do you have another recorder that can take the XLR inputs? You could see if that recorder shows the same odd spikes. If so, then you'll know it's coming from the FP24.
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Do you use the same power source in all cases ? Some multi-voltage or regulated voltage batteries generate parasites. This is generally worse when they are fully charged and when the temperature is high which might be consistent with the graphs you showed (more frequent spikes at the beginning of the show).
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First post I've seen concerning a mod for this device - https://www.gearslutz.com/board/10842631-post31.html
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That is a post in favor of the DR70, IMO.
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First post I've seen concerning a mod for this device - https://www.gearslutz.com/board/10842631-post31.html
Wow! That post is from Jim Williams.
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That is a post in favor of the DR70, IMO.
+1
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Wow! That post is from Jim Williams.
Excuse my ignorance, but who is the gentleman in question?
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Wow! That post is from Jim Williams.
Excuse my ignorance, but who is the gentleman in question?
http://www.audioupgrades.com
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Ah, thanks. It would appear then that indeed he knows of what he speaks. I wonder whether he will offer his mod commercially? Though he says it's difficult which might make it cost prohibitive in relation to the price of the unmodified recorder.
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If you use this to do a soundboard matrix would you use (trust) the built in delay for the soundboard feed or figure it out in post?
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If you use this to do a soundboard matrix would you use (trust) the built in delay for the soundboard feed or figure it out in post?
Post
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Ah, thanks. It would appear then that indeed he knows of what he speaks. I wonder whether he will offer his mod commercially? Though he says it's difficult which might make it cost prohibitive in relation to the price of the unmodified recorder.
https://www.gearslutz.com/board/10848008-post54.html
I suggest reading this carefully. My interpretation is there is a mkii model that isn't out yet?????
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Ah, thanks. It would appear then that indeed he knows of what he speaks. I wonder whether he will offer his mod commercially? Though he says it's difficult which might make it cost prohibitive in relation to the price of the unmodified recorder.
https://www.gearslutz.com/board/10848008-post54.html
I suggest reading this carefully. My interpretation is there is a mkii model that isn't out yet?????
Sounds more like some is mixing info about the 680 in there...since the 70D just shipped a few months ago...highly unlikely they are at a ii version
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That would make more sense. I wasn't sure about it.
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If you use this to do a soundboard matrix would you use (trust) the built in delay for the soundboard feed or figure it out in post?
I have used the delay on the deck and it has worked flawlessly for me thus far. 1 foot = Approx. 1ms delay is what I have used and seems good to go so far.
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I didn't realize this had delay. Wow. That's cool.
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Now I'm even more intrigued to get one ;D
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Now I'm even more intrigued to get one
Don't delay!
Ouch...
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Pulled this from the description:
"
Camera Input and Output
The DR-70D has a camera input jack that can be used to monitor the audio from the DSLR camera. By using this with the DR-70D monitor selection function, you can efficiently monitor the audio from not only the DR-70D but also from the DSLR camera. The camera output jack is designed to output the mixed audio to the camera so that the same audio can be recorded by the DR-70D and the camera. Since the input level varies by camera maker and there are usually few adjustments related to volume on DSLR cameras, this unit has an output volume dial that can be used to make adjustments. "
I do not see a wheel to turn on the outside of the unit. Is there one?
If yes, where is it?
Thanks.
-p
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Pulled this from the description:
"
Camera Input and Output
The DR-70D has a camera input jack that can be used to monitor the audio from the DSLR camera. By using this with the DR-70D monitor selection function, you can efficiently monitor the audio from not only the DR-70D but also from the DSLR camera. The camera output jack is designed to output the mixed audio to the camera so that the same audio can be recorded by the DR-70D and the camera. Since the input level varies by camera maker and there are usually few adjustments related to volume on DSLR cameras, this unit has an output volume dial that can be used to make adjustments. "
I do not see a wheel to turn on the outside of the unit. Is there one?
If yes, where is it?
Thanks.
-p
Left side - just behind the red handle...but yeah - that's labeled "Phones"
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Pulled this from the description:
"
Camera Input and Output
The DR-70D has a camera input jack that can be used to monitor the audio from the DSLR camera. By using this with the DR-70D monitor selection function, you can efficiently monitor the audio from not only the DR-70D but also from the DSLR camera. The camera output jack is designed to output the mixed audio to the camera so that the same audio can be recorded by the DR-70D and the camera. Since the input level varies by camera maker and there are usually few adjustments related to volume on DSLR cameras, this unit has an output volume dial that can be used to make adjustments. "
I do not see a wheel to turn on the outside of the unit. Is there one?
If yes, where is it?
Thanks.
-p
Left side - just behind the red handle...but yeah - that's labeled "Phones"
i asked before but don't think anyone answered, is there a menu setting to select between line out and headphones out as they are the same jack on the 70d?
On the 60d they are separate and have two volume knobs which I like because you can use both at once
Tia
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Pulled this from the description:
"
Camera Input and Output
The DR-70D has a camera input jack that can be used to monitor the audio from the DSLR camera. By using this with the DR-70D monitor selection function, you can efficiently monitor the audio from not only the DR-70D but also from the DSLR camera. The camera output jack is designed to output the mixed audio to the camera so that the same audio can be recorded by the DR-70D and the camera. Since the input level varies by camera maker and there are usually few adjustments related to volume on DSLR cameras, this unit has an output volume dial that can be used to make adjustments. "
I do not see a wheel to turn on the outside of the unit. Is there one?
If yes, where is it?
Thanks.
-p
Left side - just behind the red handle...but yeah - that's labeled "Phones"
i asked before but don't think anyone answered, is there a menu setting to select between line out and headphones out as they are the same jack on the 70d?
On the 60d they are separate and have two volume knobs which I like because you can use both at once
Tia
Line Out and Headphones are separate jacks. Cam Out and Line Out are the same jack.
Options on the MONITOR menu:
MONITOR SEL: MIX or CAM
OUTPUT LEVEL: -102 to +12db (default is 0db)
OUTPUT GAIN: LINE or CAM
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Now I'm even more intrigued to get one
Don't delay!
Ouch...
Are you saying 'don't use the delay' or 'don't delay in buying one'?
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Now I'm even more intrigued to get one
Don't delay!
Ouch...
Are you saying 'don't use the delay' or 'don't delay in buying one'?
If I had a laser tape measure or some other reliable measurement - I might use it.
But for "walk up taping" - post seems more practical.
Its not like you can't adjust it in post if you use live delay...
(i took it as dont delay buying one!)
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Are you saying 'don't use the delay' or 'don't delay in buying one'?
Don't delay buying! (Really I should keep my jolly quips to myself - they tend not to work on the internet. Or anywhere for that matter...) :)
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Now I'm even more intrigued to get one
Don't delay!
Ouch...
:clapping:
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Man I really want one of these! I paid off my NBob KCY and Naiant PFAs, so my time is coming! [2] INV 6's and a 70D are high up on my list, along with another pair of Rode Dead Kittens, and BAM, id be set for a few weeks :P ;D 8)
And I cant remember the last time I actually monitored a show I was recording! Since the m10 doesn't have a powerful line/Headphone out, I don't even bother. Would you guys say that the 70D Line/HP out is way more powerful than the m10s ??? I only use earbuds these days, but I would like to be monitoring the show with this thing, especially since Id be dealing with 4 channels most of the time! And I already have a bag picked out for running both of my rigs + 70D ;D 8)
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First post I've seen concerning a mod for this device - https://www.gearslutz.com/board/10842631-post31.html
Wow! That post is from Jim Williams.
I inquired and Jim is not offering mods on this device at the moment. He did say its an easy op amp swap.
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First post I've seen concerning a mod for this device - https://www.gearslutz.com/board/10842631-post31.html
Wow! That post is from Jim Williams.
I inquired and Jim is not offering mods on this device at the moment. He did say its an easy op amp swap.
Highly considering this mod :coolguy: :coolguy:
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First post I've seen concerning a mod for this device - https://www.gearslutz.com/board/10842631-post31.html
Wow! That post is from Jim Williams.
I inquired and Jim is not offering mods on this device at the moment. He did say its an easy op amp swap.
Highly considering this mod :coolguy: :coolguy:
I asked Busman if he would consider the mod. Haven"t heard back.
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First post I've seen concerning a mod for this device - https://www.gearslutz.com/board/10842631-post31.html
Wow! That post is from Jim Williams.
I inquired and Jim is not offering mods on this device at the moment. He did say its an easy op amp swap.
Highly considering this mod :coolguy: :coolguy:
I asked Busman if he would consider the mod. Haven"t heard back.
Nice!
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First post I've seen concerning a mod for this device - https://www.gearslutz.com/board/10842631-post31.html
Wow! That post is from Jim Williams.
I inquired and Jim is not offering mods on this device at the moment. He did say its an easy op amp swap.
Highly considering this mod :coolguy: :coolguy:
I asked Busman if he would consider the mod. Haven"t heard back.
Nice!
I will be recording one more show this weekend with the stock deck and then I will be doing this mod. I will let you all know how it goes when it is done. Seems to be a pretty difficult mod to complete because of the interior spacing of the components, not the basic chip replacement. Jim Williams even told me it was risky. You definitely don't want to be taking this down to your corner electronics guy to try it. The right tools and a steady hand are a must or the unit will be fried. Luckily I know someone who said they could do it for me. Now just gotta buy the necessary components from Digi-key! 8)
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list of components and pictures of mod would be great if you can swing it.
Anybody have a head to head comparison of the stock 70d vs. any SD preamp or recorder?
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list of components and pictures of mod would be great if you can swing it.
Anybody have a head to head comparison of the stock 70d vs. any SD preamp or recorder?
3 - SOIC National (TI) LME49720 Op Amps - Make sure LME's have decoupling caps from each power rail to ground to prevent oscillation
Will see about pics when the time comes not sure if possible or not as of now
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Hello,
Just received my Dr-70d two days ago, haven't had the time to test it, but the thing is really small, looks like a induced reduction of the SD 's and company... tested indoors on channels 1/2 with XLR stereo with MS decoding of a AKG set up (SE300 K91/94), and it works and sounds really nice (checked it on the computer with a pair of yamaha HD50), but I got the feeling of a very tiny sound on headphones output (low bass response, compared to what the spectogram/listenning showed on the computer) the headphones are Sony MDR7506. Does anyone out there find something similar about the headphone output sound? I use this in a Zoom H4n and a Fostex FR2-Le (has a noisy headphone output) with much clear output and sound...
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RE: Mods to this thing
Can the opamps simply be hand-swapped out? (Kinda like the Beyer MV-100 could). Or is soldering necessary?
Can this be done to the DR-60D?
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RE: Mods to this thing
Can the opamps simply be hand-swapped out? (Kinda like the Beyer MV-100 could). Or is soldering necessary?
Can this be done to the DR-60D?
Surface mount soldered very tight
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I thought Busman offered a 60d mod, but given the $30 price difference between the 60d and the 60dmkii, I would think the 60d mod is a hard sale at the moment. But at the price of a new 60dmkii, it's only about $100 more for the 70d, and about how much more does it cost to mod the 70D?
And does the 70d even need a mod?
I got lost in the posts about using a SD or Shure preamp with the 70d, but does the 70d even need a preamp?
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And does the 70d even need a mod?
I'm unaware of any real world before and after tests to support the need for any of these mods. I know some people believe their devices are better modified - or they prefer them modified (in terms of a different, but not necessarily more accurate, sound) - but the chances of anyone listening to a recording you have made with a stock recorder and then suggesting that it would have sounded better modified, are pretty slim.
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I recently got a DR-70D. In a battery life test at home using 2250 mAh Philips NiMH AAs internally, with phantom power on running Neumann KM-140s I got 3 hours and 20 minutes run time, with some battery time used up in initial familiarization and setup.
There a are number of settings that need to be changed from the default to record from external microphones. Sometimes when I switch batteries the settings return to default and sometimes they don't. I still haven't figured this one out, maybe it's a matter of how long the batteries are out.
Taping a local band in a local bar, using the Neumann's and the DR-70D's phantom power, the sound turned out good - like I would have expected using my current PSP-3 and R09HR combo. .
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I planned on getting one of these very soon, and had a few questions 8) First off, I was planning on using the EXT 1/2 input for my VMS02ib output, but was wondering if the upgraded chips compared to the 60d mkii would affect this input as well as the XLR inputs? The more I think about it, the more I doubt that the EXT 1/2 input has anywhere as good of chips and whatever else than the XLR inputs have?!?!?! So what I'm asking is, do I HAVE to run my inputs through all four XLR inputs to actually get any benefits of the upgraded chips compared to the 60d mkii ??? Or can I still run my vms02ib> Mini> EXT 1/2 and still get the benefits of the upgraded chips ??? I don't have a problem running all four xlr inputs, but it would be soo much easier and convenient to just use the EXT 1/2 mini input ;)
Or would you suggest me just getting a 60d mkii? I have been thinking about selling one of my m10s and buying a 70d, which would probably only cost about $150 out-of-pocket after the sale of the m10, which isn't bad at all IMO 8) But then I'd need another $80-$100 just for the cables Id need to run all four xlr inputs, that's why I want to run that EXT 1/2 input so badly ;)
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To my knowledge the same chips are used for all inputs, and to be sure it has the 4580 op amps not the NE5532's like JM mentioned in his original post. Maybe Tom from Tascam will chime in and let us know what this version is being said to have the NE5532's chipset but doesn't really contain it? I should be getting my mod on this to the LMEs complete next week if all goes well.
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5532 is what is stated on Tascam's own website. http://tascam.com/product/dr-70d/
If there is some other chip in these, then perhaps Jim Williams may be onto a MKii version we don't know about yet???
Puzzled...
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You can see the 4850s in Cheesecadet's picture just to the right of the copper shield. Strange that the website says 5532. Could those be used somewhere else we're not seeing?
I asked Jim about the MKII over on GS, and he said it was listed on his NAMM literature but "no one knows about it yet". To me it seems to be absolutely loony for Tascam to let on about a MKII so after the original has been released.
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5532 is what is stated on Tascam's own website. http://tascam.com/product/dr-70d/
If there is some other chip in these, then perhaps Jim Williams may be onto a MKii version we don't know about yet???
Puzzled...
Jim did mention the mkii version of the deck is what he saw at NAMM.
I just ordered the LMEs to do the mod anyway which Jim said would be better than even the 5532s so I don't care much anyway at this point.
Pretty lame that the site lists the 5532s as being in the units already when they are obviously not.
There are only 3 op amps in the deck...no 5532s hiding anywhere in there.
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You can see the 4850s in Cheesecadet's picture just to the right of the copper shield. Strange that the website says 5532. Could those be used somewhere else we're not seeing?
I asked Jim about the MKII over on GS, and he said it was listed on his NAMM literature but "no one knows about it yet". To me it seems to be absolutely loony for Tascam to let on about a MKII so after the original has been released.
It's disappointing if these aren't the stated chips - that was part of the hype that worked the sale with me.
I guess they could have said something less specific - and I wouldn't care. But if you don't get what you paid for...WTF?
Since the photographic evidence is out - I guess we can rule out any confusion with the DR-680.
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Does anyone know of a 60 vs 70 comp?
I find the 60 to sound very close in sound to the tb > m10
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I contacted Tom at Tascam yesterday about the op amp chips and here is his response:
"You are looking at the wrong side of the PCB. The 4 mic pres use NE5532 op amps. The output stage and the 1/8" input for Channels 1/2 use the 4580s."
Well don't I feel like a buffoon.
I will tear into the deck again today most likely and check this out and post more pics if needed. Based on this new information it would appear that the JWmod will require 5 chips instead of just the 3 originally noted. I am waiting for a response from Jim currently and have been in contact with him regularly talking about this mod so hopefully I hear something back from him today.
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I contacted Tom at Tascam yesterday about the op amp chips and here is his response:
"You are looking at the wrong side of the PCB. The 4 mic pres use NE5532 op amps. The output stage and the 1/8" input for Channels 1/2 use the 4580s."
Well don't I feel like a buffoon.
I will tear into the deck again today most likely and check this out and post more pics if needed. Based on this new information it would appear that the JWmod will require 7 chips instead of just the 3 originally noted. I am waiting for a response from Jim currently and have been in contact with him regularly talking about this mod so hopefully I hear something back from him today.
So does any of the JW's commentary/mod have anything to do with the mic input stage...or relevant to the quality of the NE5532? Doesn't sound like it.
Makes me wonder about the whole thing. Modding something he doesn't have a complete understanding of...?
His posts make it sound like he thinks the chips he swapped have something to do with the mic inputs - which apparently they don't.(if Im following this correctly)
And he does call it "misinformation from Tascam" - also misleading...and ironic.
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Awaiting an answer from Jim. Swapping the lme chips for the ne5532s would still decrease noise pretty substantially. The lme slew rate is 4x that of ne5532 and 55mhz vs. 10 I think for 5532s.
Still would be a huge difference at least based on the numbers
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So, what is the better chip? The 4580 ??? Or the 5532 ???
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And thanks for getting ahold of Tascam Cheese ;) You definitely answered my question about the 1/8" input having different chips :)
Bummer for me though :( Not a huge deal. I'll probably just use the EXT 1/2 input until I can get some XLRs made :)
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So, what is the better chip? The 4580 ??? Or the 5532 ???
The 5532 is better than the 4580. The LME chips JW spoke about are far better than both of the above.
The DR60D, DR60Dmkii, and DR680 all use the 4580s FYI
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So, what is the better chip? The 4580 ??? Or the 5532 ???
The 5532 is better than the 4580. The LME chips JW spoke about are far better than both of the above.
The DR60D, DR60D, and DR680 all use the 4580s FYI
You mean 60D mkii ???
So as long as I run XLR inputs, I can take advantage of the better 5532s :) Thanks for all of your help and input man! :)
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And its not like my tapes are going to suck if I use the 4508 chips in the EXT 1/2 input until I get XLRs made ;D
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And its not like my tapes are going to suck if I use the 4508 chips in the EXT 1/2 input until I get XLRs made ;D
Correct! The stock Dr70D sounds very good right out of the box. I'm just looking to mod something ;D
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And its not like my tapes are going to suck if I use the 4508 chips in the EXT 1/2 input until I get XLRs made ;D
Correct! The stock Dr70D sounds very good right out of the box. I'm just looking to mod something ;D
I know the feeling ;D And yea, obviously the 5532s are better chips, but I'll get by until I get XLRs. Its not like I've been recording much anyway. Just want to get ready for Summer Camp in 2.5 months 8)
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And its not like my tapes are going to suck if I use the 4508 chips in the EXT 1/2 input until I get XLRs made ;D
i have not had any issue with the 60 sound but don't tape soft things either
The 70 supposedly sounds better out of the box so I'm sure that's fine too.
Would the mod be noticeable at all??
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Great thread! Anyone have thoughts on how the pre's compare to the R44?
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Just purchased from B&H. Had a few gift cards, so only paid $224 shipped.
The phantom power on my Marantz 671 shit the bed, so I needed a replacement. This fits the bill nicely. Should arrive on Thursday...
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What bag is everybody using for this? Anybody use the Strut Field Case? Just wondering how big the side pouch is. Just need a small form factor that holds the recorder firmly and a 2" tall by 4" square box for my mics, and a RAVPower® Element. The pictures look like it would hold everything, just not sure.
http://www.bhphotovideo.com/c/product/1118963-REG/tascam_str_dr70d_field_case_for_the.html/prm/alsVwDtl
(http://static.bhphoto.com/images/multiple_images/images500x500/IMG_471780.jpg) (http://static.bhphoto.com/images/images500x500/1118963.jpg)
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Petrol PS617 Deca Lightweight Audio Bag. The Petrol label is being phased out, so I grabbed one on sale for cheap. $80, I think.
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I'm using a somewhat robust DELL laptop bag. Solid walls - Thickness seems perfect - and I like having the big lid for cover.
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Petrol PS617 Deca Lightweight Audio Bag. The Petrol label is being phased out, so I grabbed one on sale for cheap. $80, I think.
Is that bag not too wide for the DR70? Does it shuffle or do you have something keeping it in place? Do you have any pics by chance?
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I use a lowepro nova 5 but I also have a separate pre, cables, mics, clamp, battery. Etc all in one bag. I think it all fits nicely when using normal straight xlrs. I wanted a little free space so I just ordered some stubbie xlrs to provide a little relief to the cables that were bending in the bag.
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Sorta mezzed up to pay $299 for the recorder, but a bag is $99.
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And its not like my tapes are going to suck if I use the 4508 chips in the EXT 1/2 input until I get XLRs made ;D
Correct! The stock Dr70D sounds very good right out of the box. I'm just looking to mod something ;D
Nice recording you made, with the Shure FP24 in the middle. Got me convinced to try one these out. Nice job.
https://archive.org/details/chancetrio2015-03-06.cemc6.flac
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And its not like my tapes are going to suck if I use the 4508 chips in the EXT 1/2 input until I get XLRs made ;D
Correct! The stock Dr70D sounds very good right out of the box. I'm just looking to mod something ;D
Nice recording you made, with the Shure FP24 in the middle. Got me convinced to try one these out. Nice job.
https://archive.org/details/chancetrio2015-03-06.cemc6.flac
Thanks. I uploaded the Banyan set too but I think with the new LMA look the streaming got messed up.
I will be modding the deck on Thursday. Very excited to try it out after the upgrade...possibly at the Darkwav show this weekend.
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For those with the RavPower battery, how do you know when the battery is fully charged? Does it blink or anything?
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For those with the RavPower battery, how do you know when the battery is fully charged? Does it blink or anything?
mine has four lights, you can see when all four light. I'm not sure if it lights when done or not so I usually leave it for a little after the last light goes on
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And its not like my tapes are going to suck if I use the 4508 chips in the EXT 1/2 input until I get XLRs made ;D
Correct! The stock Dr70D sounds very good right out of the box. I'm just looking to mod something ;D
Nice recording you made, with the Shure FP24 in the middle. Got me convinced to try one these out. Nice job.
https://archive.org/details/chancetrio2015-03-06.cemc6.flac
Thanks. I uploaded the Banyan set too but I think with the new LMA look the streaming got messed up.
I will be modding the deck on Thursday. Very excited to try it out after the upgrade...possibly at the Darkwav show this weekend.
Ryan that sounds really good.
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For those with the RavPower battery, how do you know when the battery is fully charged? Does it blink or anything?
I got 30 plus hours with out phantom power.
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For those with the RavPower battery, how do you know when the battery is fully charged? Does it blink or anything?
I got 30 plus hours with out phantom power.
Ditto
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I contacted Tom at Tascam yesterday about the op amp chips and here is his response:
"You are looking at the wrong side of the PCB. The 4 mic pres use NE5532 op amps. The output stage and the 1/8" input for Channels 1/2 use the 4580s."
Well don't I feel like a buffoon.
I will tear into the deck again today most likely and check this out and post more pics if needed. Based on this new information it would appear that the JWmod will require 7 chips instead of just the 3 originally noted. I am waiting for a response from Jim currently and have been in contact with him regularly talking about this mod so hopefully I hear something back from him today.
So does any of the JW's commentary/mod have anything to do with the mic input stage...or relevant to the quality of the NE5532? Doesn't sound like it.
Makes me wonder about the whole thing. Modding something he doesn't have a complete understanding of...?
His posts make it sound like he thinks the chips he swapped have something to do with the mic inputs - which apparently they don't.(if Im following this correctly)
And he does call it "misinformation from Tascam" - also misleading...and ironic.
Jim has since switched out the NE5532s for the LME and reported a significant decrease in noise, 4x the slew rate, and better top end detail around 20kHz. So yes, I would say the mod is definitely worth doing if you can find someone skilled enough. Even Jim said it was risky (which is why he isn't offering the mod) and that guy is a pro. Components are very tight inside not a lot of space at all.
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Nice recording. It sort of makes it hard to judge how much of it is the 70d vs. the FP24.
A premod comparison of the stock 70d and an after mod would be awesome. I'm guessing there is more room to work to modify one of the 60ds, but I suppose the circuits are enough different that the 70d is the one to mod???
This whole thread is creating a dilemna for me. Do I buy a used SD7xx or a Tascam 70D? $300 vs. $1,000 or more. The SD will have better metering, but is the audio from the 70d comparable or is the SD still in another league?
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Nice recording. It sort of makes it hard to judge how much of it is the 70d vs. the FP24.
A premod comparison of the stock 70d and an after mod would be awesome. I'm guessing there is more room to work to modify one of the 60ds, but I suppose the circuits are enough different that the 70d is the one to mod???
This whole thread is creating a dilemna for me. Do I buy a used SD7xx or a Tascam 70D? $300 vs. $1,000 or more. The SD will have better metering, but is the audio from the 70d comparable or is the SD still in another league?
With the mod done Jim refers to it as a poor man's Sound Devices with sound in the very high quality arena FWIW. For $300 Bucks, $25 in upgraded components, and someone with the technical know how it seems to be a no brainer to me. I would love to buy a SD deck but it won't happen in this lifetime so this is the next best thing for me.
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Nice recording. It sort of makes it hard to judge how much of it is the 70d vs. the FP24.
A premod comparison of the stock 70d and an after mod would be awesome. I'm guessing there is more room to work to modify one of the 60ds, but I suppose the circuits are enough different that the 70d is the one to mod???
This whole thread is creating a dilemna for me. Do I buy a used SD7xx or a Tascam 70D? $300 vs. $1,000 or more. The SD will have better metering, but is the audio from the 70d comparable or is the SD still in another league?
I'm in exactly the same boat, but wondering if I'm going to really going to have to move to a 7 series to get better recordings than my current FP24 > M10.
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I know I'm in the minority but a lot of mics I don't like with the 7xx series
Dpa is my fav by far
Cheesecadet, start part 2 :)
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A premod comparison of the stock 70d and an after mod would be awesome.
If you mean a recording, almost impossible to do, accurately and meaningfully. Probably harder than actually doing the mod! Of course bench tests would be simpler but then you have to decide whether better figures would translate into evidently better sound.
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My logic may be faulty, but it would seem that the pres in the FP24 would be close to the SD7xx series, and once you put it in the signal chain, things should be fairly close. If you take the FP24 out of the signal chain and just go straight into the 70d, does the FP24 add much to the recording or are the preamps in the 70d such that the FP24 doesn't add much except flavor to taste?
Confused by Ozpeter's last post. Why not playback a known recording on known monitors, record the sound with a particular set of mics before the mod and the same mics after the mod? That would seem a better before and after than no before and after?
And to make it all more pertinent, if the 70d really does bring near SD quality for $300, the savings can go towards mics that really might make a more significant difference in overall recording quality and avoid having any external preamps in the chain (except to the extent one just likes the flavor). I don't want to spend any more than I have to.
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I like the good, clean gain, and flavor of the FP24. The reason for me modding the Tascam is to get the quietest possible deck and more top end detail.
The Tascam unit stock sounds very good.
I don't know how to start a new thread or I would have by now. Maybe someone else can do that?
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Confused by Ozpeter's last post. Why not playback a known recording on known monitors, record the sound with a particular set of mics before the mod and the same mics after the mod? That would seem a better before and after than no before and after?
That method (which of course I've used recently) is fine for giving an indication of obvious differences between devices (such as built in mics which can be expected to sound quite different on inexpensive recorders), but if I heard a difference between modded and unmodded recorders on such a test, my first suspicion would be that the test was faulty rather than that there was a significant difference between the recorders. For instance, the setup would have to be very carefully replicated in all respects, including very precise placement of the mics in the room.
Actually a better test - at least one that I'd be more impressed by, fwiw - would be to feed a line input at reduced level into the mic inputs before and after (Mackie mixers for instance used to provide an optional mic level output). Under those conditions, the recording should sound pretty much identical to the original test file (if the test was done correctly) and it might even be possible to obtain some indication of the unmodded and modded difference by inverting the before and after recordings against the test file. Of course you wouldn't expect a null inversion, but you might - perhaps - get something which would reinforce what your ears were telling you (bearing in mind that your ears might be convincing you that the mod was better even if it wasn't).
When I think of all the posts on all the forums were mods to recorders are discussed, it makes me deeply suspicious that as far as I have seen, nobody has really tried any such test to prove the differences - and also to eliminate the possibility that (for instance) a modded recorder which appeared to offer an improved HF response wasn't actually simply providing an exaggerated HF response. It's essential to be sure that the result of a mod is a more accurate recording, rather than just a more sexy sounding recording which could equally have been created in post production with a bit of eq or whatever.
You can probably detect that this subject is one of my many obsessions...
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I don't know how to start a new thread or I would have by now. Maybe someone else can do that?
Here ya go...
http://taperssection.com/index.php?topic=172109.0