Taperssection.com
Gear / Technical Help => Recording Gear => Topic started by: MULETAPER on August 08, 2012, 09:29:41 PM
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the other thread met its limits so I started anew one per Brians requst on thread length.
BTW, I really love my New DR680. best sounding recorder ive owned better pre's then my ACM-PMD661 (IMHO)
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A little help for our friends.........
part 1: http://taperssection.com/index.php?topic=131128.0
part 2: http://taperssection.com/index.php?topic=137231.360
part 3: http://taperssection.com/index.php?topic=141730.0
part 4: http://taperssection.com/index.php?topic=147677.0
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In.
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A little help for our friends.........
:coolguy:
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Checking in......
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Present!
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I pull gold with it....
http://soundcloud.com/bdasilva/grandmothers-of-invention-im
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I pull gold with it....
http://soundcloud.com/bdasilva/grandmothers-of-invention-im
http://soundcloud.com/bdasilva/rick-martinez-set-em-up-joe (http://soundcloud.com/bdasilva/rick-martinez-set-em-up-joe)
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Just jumped on the 680 train. All I did was power it on last night to make sure it came to life, and browsed some of the menus. First impressions: 1. I hope monitoring and adjusting levels on different channels is quicker and easier to do in the dark than it looks; and, 2. While I'm sure I'll get used to the meters, it seems like they actually downgraded the display from the HD-P2 (I didn't measure them, or look at them side-by-side, but that's how it looked to me).
I have a lot of reading to do, but what I've already established (tell me if I'm wrong):
1. Powering with either my MP3300 or MP3450 is fine, so long as I lock it in at 12V prior to connecting.
2. I should get AT LEAST a few hours on a fully-charged battery, even with the backlight on all the time (which is all I ever need, since I don't do festivals). I'll only be running P48 on 2 channels (for now). Plus, I always keep AA's in my units for backup.
3. I should get some breakout cables made to run my mics into channels 1/2 and the occasional SBD feed into channels 3/4 (Ted will probably have a PM coming.....).
4. To record pairs of channels separately, I need to set it to STEREO (as opposed to 6-channel, which records everything as a single 6-channel WAV file, unmixed). I assume the 6-channel mode is ideal for recording 6 mono direct outs from the board.
5. For the rare occasion when I run my V3 in front of it, I can record just the digital signal to either channels 5/6 or 7/8 (selectable in the menu).
6. I can record a mix on-the-fly to channels 7/8 (though I really can't see myself doing that).
That's all I can think of now. Fingers are crossed that I don't have any of the problems that others have had.
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Have fun Matt.
The meters are certainly nothing special and not really sufficient for determining the actual measured level. Yet they suffice for getting input levels in the right ballpark which is what matters most. I shoot to peak at the little line across the meter display.
While recording I often leave it in channel trim mode for fast access to input level adjustments by simply pushing the button under the meter for whichever track or group needs adjustment. Read the section on ganging the record trims for channel pairs which makes for fast, stereo balanced adjustments. Once I've set good relative levels between several input pairs or groups, I sometimes then ungang the individual groups and gang everything so I can adjust all channels at once with a single knob twist. The ganging thing takes a bit of playing around with to get comfortable with it.
4. To record pairs of channels separately, I need to set it to STEREO (as opposed to 6-channel, which records everything as a single 6-channel WAV file, unmixed). I assume the 6-channel mode is ideal for recording 6 mono direct outs from the board.
Mostly a personal preference thing, but I always set it to write either stereo or mono files. I prefer writing individual mono files verses a single 6-channel file for two reasons: Far longer record time before a 2GB file split; and the resulitng individual channel files can be more easily renamed/regrouped/rearranged as necessary.
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The meters are certainly nothing special and not really sufficient for determining the actual measured level. Yet they suffice for getting input levels in the right ballpark which is what matters most. I shoot to peak at the little line across the meter display.
I don't have it in front of me and won't be able to do any testing until this weekend. But is there any sort of scale applied to the gain for each channel? As in, with the HD-P2 I know to always start it at about 4 on the dial, and then tweak it up or down from there if need be. And are the levels for each of the channels saved when the power is cycled? Or will I be re-setting them to my preferred "starting position" before each show?
While recording I often leave it in channel trim mode for fast access to input level adjustments by simply pushing the button under the meter for whichever track or group needs adjustment. Read the section on ganging the record trims for channel pairs which makes for fast, stereo balanced adjustments. Once I've set good relative levels between several input pairs or groups, I sometimes then ungang the individual groups and gang everything so I can adjust all channels at once with a single knob twist. The ganging thing takes a bit of playing around with to get comfortable with it.
That actually covers two questions that I thought of immediately after my first post. I was hoping that it was okay to leave the trim screen up all the time (any drawbacks to it?), and I was REALLY hoping that I didn't have to adjust stereo pairs one channel at a time and then try to fix it in post.
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I don't have it in front of me and won't be able to do any testing until this weekend. But is there any sort of scale applied to the gain for each channel? As in, with the HD-P2 I know to always start it at about 4 on the dial, and then tweak it up or down from there if need be. And are the levels for each of the channels saved when the power is cycled? Or will I be re-setting them to my preferred "starting position" before each show?
You'll need to manually switch each channel for mic or line sensitivity for on the top pannel. Double check the position of all the top pannel switches when you start recording as they can get accidentally switched. After that basic mic/line choice, the input trims allow for 1 dB +/- adjustments from those two basic starting points. The machine will remember those input trim settings on power down.. it does not remember which channels were ganged or the position of the manual mic/line switches.
I was hoping that it was okay to leave the trim screen up all the time (any drawbacks to it?), and I was REALLY hoping that I didn't have to adjust stereo pairs one channel at a time and then try to fix it in post.
No problem leaving it on the trim screen while recording (other than a few things that aren't displayed then, but nothing important). You'll need to switch to that mode by pressing the trim button on the front pannel after you are in Rec/Pause or Rec, but you can then leave it there for immediate access to trim adjustments. Not having to adjust each channel one at a time once they are all correctly set relative to each other is great. I get a little geek taper thrill each time I do. ;)
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Is there a way to get a record out of the whole mix together, instead of just individual channels?
I didn't look through the manual, but checked for an external output and unless I'm an idiot there isn't one. Is there a way to set like channel 5/6 to the mix out or something?
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Is there a way to get a record out of the whole mix together, instead of just individual channels?
Three options:
the headphone output
the SPDIF output
any pair of RCA outs 1/2, 3/4, 5/6 if analog out (A. OUT SEL) is set to MIX on the I/O menu instead of DIRECT
(with the current firmware, old firmware only output the mix on 1/2)
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Is there a way to get a record out of the whole mix together, instead of just individual channels?
Three options:
the headphone output
the SPDIF output
any pair of RCA outs 1/2, 3/4, 5/6 if analog out (A. OUT SEL) is set to MIX on the I/O menu instead of DIRECT
(with the current firmware, old firmware only output the mix on 1/2)
Awesome! Great to know. Thanks.
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I think I've seen this question before but can't seem to find the answer, so I'm wondering how to make the file names go back to 000. I just got over 100 and kind of want to reset it. Last file name was 121013_103_mono1, how do I reset the bold part back to 000? Skimmed the manual but it didn't seem to say.
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The problems owners of DR-680's have with these units...would they happen in the first year...second year...third year of ownership?
Thinking of purchasing one and wondered about which extended warranty I should consider.
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I think most who had powering issues had them manifest more or less right away, not after a long while.
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What about the cyclical swings of microphone gain?
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That seems to be temporary and over-heat related as far as I can tell from the anecdotes posted here (possibly in combination with less than specified 9V power which is otherwise OK in cooler situations? not sure). I had it happen once, two years ago at a hot outdoor festival in the sun for one set. Shaded and better ventilated around it an never had it happen again.
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That seems to be temporary and over-heat related as far as I can tell from the anecdotes posted here (possibly in combination with less than specified 9V power which is otherwise OK in cooler situations? not sure). I had it happen once, two years ago at a hot outdoor festival in the sun for one set. Shaded and better ventilated around it an never had it happen again.
And from what I remember this was limited to just a few units, (At least as reported here) and not a widespread issue. For the most part, without going back into miles of postings, the issue was mostly centered around bad out of box and problems with power. Seemed that the variable voltage Tekkeon battery was no good for the 680
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That seems to be temporary and over-heat related
Yes, it's definitely heat-related.
(possibly in combination with less than specified 9V power which is otherwise OK in cooler situations? not sure).
No. Overheating can occur (personally tested) using either a 9v or 12v power supply (9v dvd battery and 12 battery geeks batt)
I had it happen once, two years ago at a hot outdoor festival in the sun for one set. Shaded and better ventilated around it an never had it happen again.
Yes. The unit needs proper ventilation if a) it's a very hot day or b) you have another piece of gear in an enclosed bag that naturally runs hot.
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I guess I agree, heat has been a concern of mine for the last couple years, running in blazing hot summer festivals nestled in with a v3.
But I haven't been burned yet.
(Other than by touching the V3 on a day like that!) :)
I think I've had two card failures that seemed heat related.
But once cooled down the little thingy seemed to regain its little brains..
Yeah - vent, shade, reflect that sun away!
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Sorry but without digging back thru this thread..... Is anyone using a 64gb card... 35$ at frys electronics this week...
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I've been considering getting a second recorder to allow for multiple configs at the same time to compare and while my first thought was another M-10 (which I love using) I'm thinking a multi-channel recorder makes more sense. Would set me up with a highly mobile, low-pro rig and something less mobile but with lots of options.
So considering that, I'm wondering how much success folks have had running mics directly into the DR-680 (similar question would apply for R-44 I guess but starting with 680) rather than through external preamps. Looks like a lot of sources have a preamp of some sort in the chain with the 680 as a bit bucket much of the time.
I have a tinybox on the way but wondering if I'd NEED to run additional pres or would the builtin pres suffice for a while to compare recordings made with akg 461s vs adk-tl's in card mode or blumlein?
Reading the oddball mic technique thread makes me want to setup several configs at once to play around with. Seems like a great way to learn fast as compared to taking one rig to a show, and then running something different at the next which might have different conditions and trying to compare apples to oranges. Some might call that impatience I suppose but it's how I seem to learn best.
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So considering that, I'm wondering how much success folks have had running mics directly into the DR-680 (similar question would apply for R-44 I guess but starting with 680) rather than through external preamps. Looks like a lot of sources have a preamp of some sort in the chain with the 680 as a bit bucket much of the time.
I myself have run mics directly in at times but the only "avialable" sample is here http://archive.org/details/ab2011-01-05.at853subcards.flac
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I've been very happy with the internal pres. Now, I usually run four channels of DAV preamps--one pair feeding a Mytek A/D--when I record classical music for hire, but any additional mics are straight into the unit. For non-paid, non-classical gigs, I usually leave the external pres at home (unless I need 8 channels and need the digital input) and have always been completely happy. Here's one direct-in recording that came out pretty well, though it's an on-stage setup and might not be comparable to taping from the audience.
http://archive.org/details/eblok2011-12-01
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I use the 680 internal pre-amps too. They work fine for audience taping.
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I'm wondering how much success folks have had running mics directly into the DR-680 (similar question would apply for R-44 I guess but starting with 680) rather than through external preamps. Looks like a lot of sources have a preamp of some sort in the chain with the 680 as a bit bucket much of the time.
I also have zero complaints or hesitations on using the internal preamps. Below is a photo of the on-stage setup I ran last night. The three ADK TLs (all in supercardioid pattern) are routed straight into the DR-680. The small diaphram Gefell cards in ORTF are routed > V3 > S/PDIF > DR680. Not visible are three DPA 4060s (one boundarymounted on stage in front of the drumkit on the snare side- you can barely make out a small square of gaff tape on the floor infront of the center TL, and two boundary mounted to the front face of the stage under the lip, facing the audience) also direct into the DR680 via Naiant phantom powering adapters. On a quick listen when I got home, the direct-routed ADK setup beat the Gefells> V3 handily, but I don't think the different chains and preamps have much to do with the differences.
(http://farm9.staticflickr.com/8482/8191206358_a1ec9ebae5_z.jpg)
[edit- I also get no hesitation blues when deciding to use the internal pres of the R-44, but mine is Oade Concert Mod'ed, so I don't know first-hand how the stock preamps in the R-44 compare. But as far as I'm concerned the internal preamps in both my stock DR-680 and OCM R44 are equally transparent and quiet enough for my use that I just use them without thinking about it. I can hear a difference when using the V3 and it's ADC, but the sonic differences are subtle minor and usually of less impoartance than the practical issues of eliminating the need for external preamps unless I need one to get use of all 8 channels into the DR-680]
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Very Nice!
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Very Nice!
Dig that sweet Gak-cable on the Geffs!
Beautiful cable work.
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thanks for the feedback, wanted to make sure nobody said "you can do it if you really have to, but...". I'm planning to record a lot of different stuff from indoor/outdoor rock shows to high school choral and band concerts and whatever else looks interesting when I can find the time.
I'm going to look closely at the DR-680. Now just need to figure out when I can afford it. I've spent a lot more recently than I had planned. Seems to be a theme.
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Sorry but without digging back thru this thread..... Is anyone using a 64gb card... 35$ at frys electronics this week...
I had asked about the SDXC cards and never got a reply. I figuered worse case is you'r only able to get 32GB of use,, but I never tried it. Maybe at that price though................
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Any preferred vendors for the 680?
Should I avoid the sub-600 dollar deals on ebay?
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I think Muletaper just posted one brand-spanking new in the YS. I think he only used it in the field once or twice. He's including an SD card with it, pretty sure.
I got mine brand-spanking new in the YS too. : )
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I think Muletaper just posted one brand-spanking new in the YS. I think he only used it in the field once or twice. He's including an SD card with it, pretty sure.
I got mine brand-spanking new in the YS too. : )
Seems he's had a change of heart... :P
Now..."NFS"
I'll consider that an endorsement!
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Ted made me do it, I swear >:D
aint goin anywhere anytime soon. I just have to fully understand how to use it,gang channels and feeds,best field power source ect ect ect
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515$ i may buy a second. I read about it but with out two to play with I just don't get it.... How many usable channels can i get from two decks? Is the not perfect word clock ok?
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At that price point, I can't help but wonder if an MKii version is around the corner. Even so, what a steal!
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I haven't done it, but linking two machines should get you a total of 12 analog and two digial inputs. Six analog plus the digital stereo input on the first deck, combined with the six analog inputs of the second (the digital stereo input on the second is sacrificed to the sync).
I've locked the clock of the 680 to the SPDIF output from the R44 and the clocks stayed synced without problems. I just ended up with duplicate information from two channels of the R44 on the 680's SPDIF channels. In that scenario I ended up wiht 10 time-locked usable channels.
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515$ i may buy a second. I read about it but with out two to play with I just don't get it.... How many usable channels can i get from two decks? Is the not perfect word clock ok?
I run two with a V3 and a USBPre-2. The Pre-2 will sync to the spdif from the other deck giving me a full 16 channels of clock synced recording.. If you don't use the pre-2 for sync and you don't have any preamp with digital output(AES/SPDIF) then you can get 12 channels of clock synced recording. You will still need to align the start of the two different decks in your DAW but then they run perfect together
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Does the DR-680 play nice running in a bag? Or does the button configuration on the upper surface make you run it outside of the bag??
Also I have a V2 I'd like to run into the DR680...any ideas on how to configure a bag with the two?
PHOTO'S Appreciated...mine will arrive Thursday and I plan on taking it out Friday!
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achalsey runs a V2 and DR680 in a bag!! He is using a Sonicase, but I'm sure there are many other bag options.
Does the DR-680 play nice running in a bag? Or does the button configuration on the upper surface make you run it outside of the bag??
Also I have a V2 I'd like to run into the DR680...any ideas on how to configure a bag with the two?
PHOTO'S Appreciated...mine will arrive Thursday and I plan on taking it out Friday!
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Yup. The sonicase is freaking huge, which is kind of annoying, but it does the job well. I've only had the 680 for six months, but I've never had any issues with the top switches while running in the bag.
As others have mentioned heat can be an issue with the 680, so when running in a bag, especially with other hot pieces of gear (like the V2), make sure you have decent ventilation on those summer days. No one else seemed on board when I briefly mentioned it a while ago, but I'm considering buying a little portable fan to use in the bag next summer to circulate some of the heat.
achalsey runs a V2 and DR680 in a bag!! He is using a Sonicase, but I'm sure there are many other bag options.
Does the DR-680 play nice running in a bag? Or does the button configuration on the upper surface make you run it outside of the bag??
Also I have a V2 I'd like to run into the DR680...any ideas on how to configure a bag with the two?
PHOTO'S Appreciated...mine will arrive Thursday and I plan on taking it out Friday!
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I run a V3 underneath the 680 in my bag, and have enough room on top of the 680 to reach in and power it up/down and peer in to make sure the sensitivity, power and limit switches are in the correct position. You also need access to the enter button in the center of the jog wheel to confirm a format or sys file write to the SDHC card (for all other 'enter button' funtions, the pushing the knob on front works the same as the one on top). The space above also provides ventilation. Mine always lives in the snug form-fitting Tascam case it came with so that protects the top of the recorder from the coiled mic cables I stow in that space when packed up. With it in place in the big bag, I can lift the top of the snug case about 2.5" to access those switches. My big bag is nothing special but it works- a soft sided cooler with exterior pockets and a shoulder strap and the gear sits in the internal plastic tub nested in a few pieces of closed cell packing foam. Waterproof and easy to rearrange as required :P
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yeah I found that there is not any issue with switches getting thrown by the bag and once you learn the layout all you need is enough room to slide your hand in and manipulate the switches/buttons.
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PHOTO'S Appreciated...mine will arrive Thursday and I plan on taking it out Friday!
Couldn't find a photo of the V3 under the 680, but here's an R44 under it in the same bag. In this photo, the 680 is positioned closer to the top so I can access the top of both recorders. With the V3 in the place of the R44 there is a lot more room on top. As you can make out I tuck under the front flap of the snug Tascam case that normally covers the front, conveniently it velcros directly to the side velcro on the underside of the top flap that would normally attach to the sides, making it easy to 'lift the lid' and reach under with no velcro-rippage. The clear plastic cover still protects the front face, so the only time I unfold the front cover and use it like it is actually designed to work is when I'm carrying the recorder around by itself for playback outside the big recording bag. Don't know if the new ones comes with the snug cover included, it was a free accessory from B&H when the unit was selling for a couple hundred more.
DR-680 & R44 clock linked for 10 channels. Seperate DVD battery for each (one of which runs the V3 when it's in there)
(http://farm6.static.flickr.com/5105/5640954442_63efc343ee.jpg)
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What is the big bag? A Lowepro AW Magnum?
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In the photo above?
Its a $20 soft sided cooler with a fat shoulder strap, gear in the plastic tub, big zippered pocket on front, mesh pockets on the sides. Nothing special but it works very well when I need to carry a alot and keep it well protected. Here's another photo of the same setup, the zippered cooler top is flipped back. Its sort of like a big disc golf bag-
(http://farm6.static.flickr.com/5269/5640385079_d1ea0b911b.jpg)
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In the photo above?
Its a $20 soft sided cooler with a fat shoulder strap, gear in the plastic tub, big zippered pocket on front, mesh pockets on the sides. Nothing special but it works very well when I need to carry a alot and keep it well protected. Here's another photo of the same setup, the zippered cooler top is flipped back. Its sort of like a big disc golf bag-
(http://farm6.static.flickr.com/5269/5640385079_d1ea0b911b.jpg)
Nice cheap option. Great thinking. ;D
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I wonder if the DR-680 can record a Dolby 5.1 stream? Has anyone tried that?
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I'm trying to get a leg up on this unit before it arrives Thursday...I've been reading this PDF:
http://tascam.com/content/downloads/products/43/E_DR-680_OM_vA.pdf
In the manual there is mention of adjusting Microphones in the Trim and to be careful of "Over Driving" and "Recording Distortion" even though the record levels are under -2db....Then I saw where Gutbucket speaks of using TRIM to get 1 db fine adjustments of levels...
I have a Microphone Trim section on my Fostex FR2LE (it's a separate Microphone Preamp that isn't used for Line Level input) and a MIC Peak indicator to let you know the Microphone Trim is being driven to distortion this is what the Manual is addressing...AND I have TRIM on my V2 for fine adjust levels since the gain is applied in 5 db steps...which sounds like what Gutbucket speaks of...
HOW do you know which MODE Trim is in on the DR-680?
Also NO mention of Ganging inputs for Global Changes of Gain in the PDF....are they using a different term?
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Chuck,
I've not done it, but any recorder with a SPDIF input should technically be able to record a Dolby digital 5.1 stream. You could also record all six of the decoded 5.1 stream via the analog channels of course.
Hypno,
Not sure I understand your question. You first set the overall input sensitivity for each channel pair to either MIC or LINE with switches on the top of the machine, then adjust input gain as required by the channel trims. If using the V2 before the 650 you can adjust gain on both the V2 and the 680. In that case set the input sensitivity to LINE, then figure out what balance of gain from each device you are happy with.
Details on how to gang trim adjustments (as well as other things like pan and level) are in Tascam's PDF describing new features added with the last firmware update as I recall. I think that is available on Tascam's 680 website. I wouldn't worry about trying to gang channels until you are comfortable with running the recorder. How to do it is covered earlier in the thread somewhere as well, and I'll be happy to explain it again if you need help.
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Hey all I just picked one of these up for Jam Cruise. Tested it and that was about it. Any gotcha's things I should be aware of? I'll be running on A/C only and line in on all six channels. Got some top notch SDHC cards.
Any advice on levels/trim settings?
Noticed the remaining time display is wrong for my 32GB card. Can I do anything about this?
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Check the fimware and update if necessary. I don't know the revision number off hand but just check the Roland website for what ever is the newest release.
Shoot to peak at the fine line across the meter display, adjust gain via the sensitivity switch on top and the 'trim' function on front. Don't be distracted by the 'level' function on front, which is the output-buss monitor level of each channel and has nothing to do with input levels.
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Noticed the remaining time display is wrong for my 32GB card. Can I do anything about this?
I used mine for the first time last Friday. As I recall it had the latest firmware, which was version 1.20. Also as I think I recall, the deck will show the remaining time for the file (2gb limit) not the entire card. As it may be recording multiple files, it still is showing how much time until it starts a new file(s). Using it was a breeze too.
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So my stereo recording of two pairs is always a very low volume recording and the mix for all mics is set to 90%, any thoughts?
Todd
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Go to the mix track and up your record level.
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Hey all I just picked one of these up for Jam Cruise. Tested it and that was about it. Any gotcha's things I should be aware of? I'll be running on A/C only and line in on all six channels. Got some top notch SDHC cards.
Any advice on levels/trim settings?
Noticed the remaining time display is wrong for my 32GB card. Can I do anything about this?
if I were you I'd pop battereis in just as a back up to lost power. The 680 is not friendly when it loses power during recording. Oh and make SURE you hit stop before doing anything else after recording. Recovering files is major PIA with 680.
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What Kirk said.
Todd- The stereo mix level works in combination with the individual channel mix levels, they interact with each other.
Increase the mix level of the indivdual channels which you would like hotter. They default to 50%. Sounds like you have those at 90% but you could bump the ones you'd like hotter up more. The stereo mix level control attenuates the stereo buss after individual channel level and pan, so if that's set low, the resulting stereo file will have low levels. If it's currently at the default of 50%, well there you go. All these settings are retained.
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Just what does the SOLO function do???
I was attempting to put the Trim in gang mode for a 4 channel recording...finally got what I wanted...then 25 minutes later I about had a melt down when I saw the SOLO indicator under the 4th input. My recording is fine and all channels are there.
Also...picked up a used Tekkeon 3450i that uses dip switches for the voltage selection....any thoughts on using it with the DR680?
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Pretty sure solo is for monitoring.
Don't use the 3450i. Pretty sure acid jack killed two seperate 680's using that model tekkeon.
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Don't use the 3450i. Pretty sure acid jack killed two seperate 680's using that model tekkeon.
I'm pretty sure the tekkeon that killed some 680's was the one with automatic voltage selection. I still think it might be safer not to use a tekkeon though.
This one would probably be ideal. It has become pretty popular in the last few months and is much cheaper too:
http://www.ebay.com/itm/9V-12V-15V-16V-18V-19V-21V-18000mAh-Li-ion-Super-Rechargeable-Battery-Pack-whit-/200826090708?pt=PDA_Accessories&hash=item2ec22af4d4
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Pretty sure solo is for monitoring.
Don't use the 3450i. Pretty sure acid jack killed two seperate 680's using that model tekkeon.
3450 is fine, but you cannot use AUTO. If you set to 9v-12v it's fine.
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Just what does the SOLO function do???
I was attempting to put the Trim in gang mode for a 4 channel recording...finally got what I wanted...then 25 minutes later I about had a melt down when I saw the SOLO indicator under the 4th input. My recording is fine and all channels are there.
Also...picked up a used Tekkeon 3450i that uses dip switches for the voltage selection....any thoughts on using it with the DR680?
If you are monitoring your recording and solo a channel, you only her that channel. While recording, it seems pretty difficult to mess up ;D
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This one would probably be ideal. It has become pretty popular in the last few months and is much cheaper too:
http://www.ebay.com/itm/9V-12V-15V-16V-18V-19V-21V-18000mAh-Li-ion-Super-Rechargeable-Battery-Pack-whit-/200826090708?pt=PDA_Accessories&hash=item2ec22af4d4
I've started using this battery and I like it.
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Back from JamCruise 680 performed great.
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I recently have been having a strange situation with my 680. I hit pause record and it holds for a few seconds then starts recording on it's own. I was meaning to check it out this weekend to see if i had something set wrong but figured i would ask here.
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Hmm. Make sure auto-record is not engaged. That's the function where the machine automatically switches from rec/pause to record once the sound level exceeds a pre-determined threshold you set. I've never used that, but it functions as you describe.
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The 680 is not friendly when it loses power during recording. Oh and make SURE you hit stop before doing anything else after recording. Recovering files is major PIA with 680.
any advice on how to recover these files? i believe this is how i lost my last set from nye.
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Hmm. Make sure auto-record is not engaged. That's the function where the machine automatically switches from rec/pause to record once the sound level exceeds a pre-determined threshold you set. I've never used that, but it functions as you describe.
Sounds like the issue, i will check it out.
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Yeah, my DR-680 did the same thing a while back. I can't remember what setting it was either.
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The 680 is not friendly when it loses power during recording. Oh and make SURE you hit stop before doing anything else after recording. Recovering files is major PIA with 680.
any advice on how to recover these files? i believe this is how i lost my last set from nye.
it's a mixed bag of results for me. You can try the home grown header recovery here onTS. You can also try a DOS check disk command with a fix flag. But ASAIK there is not a solid perfect solution to this issue and even Tascam cannot and will not help you
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I have a question that probably is answered in these threads, but I cannot find it. Last night I used the deck and ran 6 channels plus a mix. All six channels were balanced nicely, but the mix was about 4db higher in one channel than the other. I knew I could fix it in post, but was wondering how to adjust the mix on the fly. Again all 3 sets on mics were evenly balanced so I am wondering how to control Left and Right channels on just the mix balance.
Thanks!
A quick shout out to Darktrain, because having six short cables preset in place (which takes a bit of time to get just right, but once done can just be left in place) made setup and breakdown a breeze ;D
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I have a question that probably is answered in these threads, but I cannot find it. Last night I used the deck and ran 6 channels plus a mix. All six channels were balanced nicely, but the mix was about 4db higher in one channel than the other. I knew I could fix it in post, but was wondering how to adjust the mix on the fly. Again all 3 sets on mics were evenly balanced so I am wondering how to control Left and Right channels on just the mix balance.
Thanks!
A quick shout out to Darktrain, because having six short cables preset in place (which takes a bit of time to get just right, but once done can just be left in place) made setup and breakdown a breeze ;D
Well, since no one has responded yet, I'll at least say I checked and don't know how to specifically control the mix level. Did you double check your Mix Level on the front pannel? They seem to only control the 6 channels independently, but could you have had your Mix level slightly higher on one channel than the rest?
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I have a question that probably is answered in these threads, but I cannot find it. Last night I used the deck and ran 6 channels plus a mix. All six channels were balanced nicely, but the mix was about 4db higher in one channel than the other. I knew I could fix it in post, but was wondering how to adjust the mix on the fly. Again all 3 sets on mics were evenly balanced so I am wondering how to control Left and Right channels on just the mix balance.
Thanks!
A quick shout out to Darktrain, because having six short cables preset in place (which takes a bit of time to get just right, but once done can just be left in place) made setup and breakdown a breeze ;D
Well, since no one has responded yet, I'll at least say I checked and don't know how to specifically control the mix level. Did you double check your Mix Level on the front pannel? They seem to only control the 6 channels independently, but could you have had your Mix level slightly higher on one channel than the rest?
I think achalsey is right on the money here. I'm not aware of any feature on this deck that will allows you to directly control the recording levels of the mix channels (7 & 8). The only way this could have happened is if you had the mix level or pan for one of you channels (1, 3, and 5 or 2, 4, and 6) adjusted to something other than the default value.
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remember, the channels are summed, so a slightly higher level keeps getting added to itself which could show more after they are all added togther. IE: you set both @ -1 but each left mic is 1.2 db higher(ch-1,3,5), something that you might miss with the 680 metering then all the 1.2 get added up making for a 3.6db difference on the 7-8 channel recording.
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remember, the channels are summed, so a slightly higher level keeps getting added to itself which could show more after they are all added togther. IE: you set both @ -1 but each left mic is 1.2 db higher(ch-1,3,5), something that you might miss with the 680 metering then all the 1.2 get added up making for a 3.6db difference on the 7-8 channel recording.
Thanks all! I think you all had it more or less correct and Kirk probably nailed most closely what happened. In post I did see one channel on one mix hotter and then on two other pairs of mics a tiny bit higher. I was wondering if there was just something I was missing being so new with the deck. That said, I was impressed at how easily I went from 2 mics to six and the corrections were pretty basic in post. I probably wouldn't do that many mics too often as I ended up with way too many choices as to what to listen to, upload etc, because all 4 recordings sounded really good. ;D ;D
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You can contol the level of the stereo mix the same way as each individual channel contributing to it (select the stereo channel by pushing the button under it's meter on the display to adjust it while in mix level mode. Typically is is best left turned all the way up but useful to attenuate somewhat if the channel sums would otherwise clip. Unlike the variable panning available on each individual channel, there is only level control and no ability to adjust Left/Right balance. That level adjustment is for the analog mix only and is not possible with a digital input.
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You can contol the level of the stereo mix the same way as each individual channel contributing to it (select the stereo channel by pushing the button under it's meter on the display to adjust it while in mix level mode. Typically is is best left turned all the way up but useful to attenuate somewhat if the channel sums would otherwise clip. Unlike the variable panning available on each individual channel, there is only level control and no ability to adjust Left/Right balance. That level adjustment is for the analog mix only and is not possible with a digital input.
So with an analog mix, the entire mix strength can be controlled while in Mix Mode, which is especially useful if the signal of the channels that make up the mix are fairly hot individually thus making the mix, which would be the cumulative effect of those signals, hot enough to clip. That is good to know. At the same time the cumulative effect of say 3 right channels slighly higher than their left counteparts, would show a more pronounced effect of that channel in the Stereo Mix as I observed.
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I had my first hiccup with the 680 last night. At the start of the second set I had the deck on pause record. Once I went to start the deck both the pause and record button started blinking and the message "not continued" popped up on the screen. once the deck was turned off and on it seemed to be fine. The owners manual lists this as an error and says to power it down/up but what actually happened? Any Ideas?
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I haven't seen that error message with mine.
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I've never personally seen that error, but all of the issues I've ever had with this unit have been either to do with the battery or else the card. Was the card reformatted prior to use?
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Using 12v sla so there shouldn't be an issue there. The card was not formatted before the show and I actually had to delete a few files after the opener finished his set to make room as I'd forgotten to transfer everything before I left home. However the first set of the headliner went off without a hitch. I'll make sure to format before every show and hope it never happens again.
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The card was not formatted before the show and I actually had to delete a few files after the opener finished his set to make room as I'd forgotten to transfer everything before I left home.
Ding Ding Ding
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The card was not formatted before the show and I actually had to delete a few files after the opener finished his set to make room as I'd forgotten to transfer everything before I left home.
Ding Ding Ding
:facepalm: Honestly I've gotten away with it so many times I just thought I was good to go. lesson learned.
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Live and learn ;)
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Speaking of living and learning. Learned the hard way that it sounds better when I run an MP-2 into the 680 if I set the 680 to mic level and crank the volume down on the 680 as opposed to setting the 680 to line-in like one would think when coming out of another preamp.
Did someone here say that the line-in is the same path as mic-in but just attenuated? Now I get it! :facepalm:
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Speaking of living and learning. Learned the hard way that it sounds better when I run an MP-2 into the 680 if I set the 680 to mic level and crank the volume down on the 680 as opposed to setting the 680 to line-in like one would think when coming out of another preamp.
Did someone here say that the line-in is the same path as mic-in but just attenuated? Now I get it! :facepalm:
At the Pickathon this summer
Busman (Chris Johnson) told me for the 680 that often from a sbd or line feed to run as mic in and turn the gain down... I cant remember exactly why, but if you tried line in on TRS it was way too low, could be a +4 and -10 issue. Most pro gear line level is +4db while most consumer line level is -10db.
I tried it during soundcheck... and yes the mic level in and adjust from there, since line with the pad still was too hot.
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The card was not formatted before the show and I actually had to delete a few files after the opener finished his set to make room as I'd forgotten to transfer everything before I left home.
Ding Ding Ding
Late to this discussion because I'm new to the 680. In fact, I won't have it until tomorrow.
But as far as card read errors go, just remember that the fuller a card gets and the longer it's been since it's been formatted, the more 'work' needs to be done to locate free sectors for writing music onto. So the more jumping around that's needed to find free sectors, particularly with a slow card that hasn't been reformatted in a long time, the more of a chance you'll have buffer overloads which cause drop-outs or worse.
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Yeah, I format mine in the machine every time I use it. I've never had an issue doing it that way.
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So I typically tape a full 12-hour day at festivals without swapping cards/formatting between shows (in scalding heat, driving sleet, all that).
Only lost one set to the zero file size problem over several years but it never happened again and I was slightly altered by then so I didn't get into it too much.
Question regarding filesystems and sector allocations and such:
If I format a card, then sequentially record a series of sets onto the card, would the filesystem not allocate sectors sequentially, tidily, easily searchable, etc?
Effectively making it a fine way to operate?
Seems like the sorts of issues being referred to would be the result of deleting and re-recording repeatedly on the same card, eh?
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I'm no expert, but that's my understanding.
Here's my annecdotal experience upon which my current practice is based- Using various recorders, I've only had file problems with otherwise good cards when I'd deleted files from them and then recorded more stuff without formating.. or had power problems on some recorders. I've never had a problem simply using cards until they are near full before reformating them.
Because of that I reformat anytime (or almost anytime) I actually delete files. If I have plenty of space left on the card for what I want to record, I don't reformat and leave the old stuff on there. I typically take a handfull of freshly formatted high capacity cards to a fest with the idea of using one each day to make file management easier, but often end up using the same 32GB card for more than one day.
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Possibly helpful SDHC card management tip-
Before a festival I remove all the files from the pool of empy cards I plan to use and format them on the computer, then put each into the DR-680 and let it do it's quick format again (which also writes the necessary system files, etc), and I do that for all my cards regardless of what device I plan to use them in.
I do that because I can then use them in any of my other devices like a camera or a different recorder, and if necessary I can take them out and use them in the DR-680 without re-formating and loosing the data recorded by the other device. The DR-680 is the only one of my recorders which always demands it's own format on the machine before it will work. If one of those formatted cards is put into a DR2d, it will ask to write sys files but does not need to reformat (It will ask to do a full format if the card had not been formatted on the DR-680). My Edirol/Roland R-09/R44 recorders will write to any properly formatted card without any need to write system files or format (I wish the Tascam file system worked that easily) and the cameras don't care either.
Interestingly it does not work the other way- If I format on a DR2d then put the card into the DR-680, it will still need to reformat it and cannot simpy write sys files. So by formatting all SDHC cards in the DR-680 I make sure that I can use any of them in any of my devices, interchangebly if necessary without loosing data before I get home and copy them to safe storage.
I used to go one step further and put each card into a DR2d to write its sys files after doing the DR-680 format, but decided that's overkill and isn't necessary. The DR2d will write sys files to a card formated in the 680 without harming pre-existing data from a camera or other recorder.
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Problem.
I experienced the cyclical pumping gain issue during the last set I recorded at Suwannee Springfest two weekends ago. I was cataloging and listening to the files last weekend when I discovered it. It's only during that single set, lasts for maybe 10 minutes, then clears up again. As described by others here previously it manifests as a dip and then peak (or is it a peak then dip? I can't recall which comes first) in level across all channels, which repeats every few seconds. I was running 6 microphones at the time into the analog inputs, all phatom powered by the DR-680, nothing into or out of the digital ports and no internal stereo mixdown for that set. Mics used were: 2x DPA_4060>Niant_PFAs>ch1&2, 2x MG_M94/MV692>ch3&4, 2x MG_M210>ch5&6.
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Problem.
I experienced the cyclical pumping gain issue during the last set I recorded at Suwannee Springfest two weekends ago. I was cataloging and listening to the files last weekend when I discovered it. It's only during that single set, lasts for maybe 10 minutes, then clears up again. As described by others here previously it manifests as a dip and then peak (or is it a peak then dip? I can't recall which comes first) in level across all channels, which repeats every few seconds. I was running 6 microphones at the time into the analog inputs, all phatom powered by the DR-680, nothing into or out of the digital ports and no internal stereo mixdown for that set. Mics used were: 2x DPA_4060>Niant_PFAs>ch1&2, 2x MG_M94/MV692>ch3&4, 2x MG_M210>ch5&6.
Yup, been there and done that.
Was it hot at the venue? I've only experienced it in extreme heat.
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Not particularly, though it was the warmest afternoon of the weekend. I've run in on much hotter days there without problems previously. It might have been hotter in the bag than I realized though.
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Oh wow.
That pumping gain issue sounds odd, like some power circuitry draining too fast and needing time to catch up.
Never seen that. Though I always have a v3 doing digi into two channels and I'm not sure that I've done 6 phantom channels from dr-680.
Plenty of heat with less channels no problem. Only one ever was that zero byte file thing (possibly caused by my enthusiasm for the event).
(Doesn't apply to my life but) interesting info regarding the DR-680's requirement for formatting, thanks for sharing.
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The two times I experienced the cyclical volume thing I was outside and it was very hot out. The last time I had the presence of mind to check the bottom of the recorder (bottom, right, back corner) and it was very warm to the touch. I have rearranged things in my bag now and that bottom of the recorder is open and not blocked by anything now. I have gotten into the habit of putting my hand on that area several times per show to check it.
I also have started using an external pre-amp on channels 5+6 to help take some load off the phantom power supply in the DR-680.
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I had the R44 in the same bag as the 680 that day, which was turned off at the time, but taking up airspace. I did have both recorders running simultaneously for the previous set, with four mics into the R-44 (carry over from my foul weather setup the day before) and the R44's digital and analog outputs feeding the DR680 (no mics, no phantom on the 680 that set), so it's possible excess heat may have built up earlier. Both recorders were powered by seperate DVD batteries.
Making a mental note to start checking the bottom right back corner occassionally for excess warmth.
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I had the R44 in the same bag as the 680 that day, which was turned off at the time, but taking up airspace. I did have both recorders running simultaneously for the previous set, with four mics into the R-44 (carry over from my foul weather setup the day before) and the R44's digital and analog outputs feeding the DR680 (no mics, no phantom on the 680 that set), so it's possible excess heat may have built up earlier. Both recorders were powered by seperate DVD batteries.
Making a mental note to start checking the bottom right back corner occassionally for excess warmth.
Anybody have suggestions for dispelling excess heat? I have a feeling I'm going to run into this problem running the 680 and V2 in the same bag on a few summer days and not sure how to cure it. I got the 680 late(ish) last summer and ran it a few times in the summer heat and it definitely got very hot in the bag.
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I run with v3 in a bag for years at very hot summer festivals.
Felt the gear and its scorching hot... (better start knocking on wood)
To mitigate I use reflective blanket (plasticized one, not the loud crinkling space blankets) to keep the sun off, which is very effective(!) and try to leave air space around everything for current.
Haven't gone to the little muffin fan yet :)
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Thanks for the suggestion on the reflective blanket, that might be a good investment. I'm running a Sonic Case so have been thinking of grabbing a little battery powered fan to blow into one of the side openings right onto the recorder.
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You could try taking the battery cover off of the bottom (without AA-batteries in there, of course). Might allow better heat dissipation.
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Mine is always in it's form-fitting protective case, not particularly great for heat dissipation I suppose. Still somewhat sceptical heat was the cause here, since I know its been hotter, and packed tighter in the big bag numerous times, as it was recording 3 days at the same event the last year. But it could be.
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FollowIng on and melding two seemingly unrelated subjects discussed earlier today, is there any possibility the cyclical issue is a data write/buffering issue related to either running lots of channels simultaneoisly, or a slower than optimal card or some combo of both?
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Yeah, I format mine in the machine every time I use it. I've never had an issue doing it that way.
Yep! general best practice... start fresh each time...
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Since I'm the proponent of the phantom power on in high heat theory, I'll ask...
Has anyone experienced the cyclical gain problem in cool conditions, or running the DR-680 with no phantom power being on?
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Good questions Chuck.
My suspision, and it's only that at this point, is that my episode was possibly caused by a combination of a heavier phantom load than I've had previously, using an external 9V battery power, perhaps aggravated by heat.
This was not the first time I've run 6 mics on phantom power into the 680, but it was the first time I've run the MG M210s in that mix. I'll have to take a look at the current draw of all the mics I had running this time compared to what I've run into it previously. This time it was the two pairs of Gefells and one pair of 4061s>Niant PFAs, previously it's typically been 4x4060>PFAs and one pair of Gefells, or 3 AKD TLs and one pair of Gefells, ocassionally other combinations.
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I recently purchased a lower end external headphone amp for monitoring during shows. Since I just received my 680 today and will be taking it out on Saturday, I'm curious how the on-board headphone amp is on this and whether I should bring the headphone amp along. Does it provide enough volume to be able to monitor the recording with the house volume pumping out pretty good?
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yer asking if you should bring your new toy? ::) ;D
I use the onboard for monitoring but the shows aren't that loud nor does it sound that good.
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^ True, but I actually bought the headphone amp before I even considered the 680. I got it partly because the DR100mkii monitor doesn't have much power and partly because I just wanted some more balls behind my ipod. I was just curious about what to expect out of the 680...thanks for the heads up.
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I'd try the stock headphone amp as I feel it does the trick for me. I do have good monitoring headphones that seem to block the show out though. I hate lugging headphones for the most part these days. if levels are good it should be good. i would read the manual a bit and have someone on standby should a new issue arise that you have not seen. I had that when doing 6 or 8 channels in and had to change spdif and monitoring settings on channels 5-8. I really like mine. good luck
I recently purchased a lower end external headphone amp for monitoring during shows. Since I just received my 680 today and will be taking it out on Saturday, I'm curious how the on-board headphone amp is on this and whether I should bring the headphone amp along. Does it provide enough volume to be able to monitor the recording with the house volume pumping out pretty good?
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Thanks Ziko. I agree about lugging headphones, but sometimes it's fun to have them especially if the show isn't doing it for you and you want to pass some time. Of course, it's always nice to have them too when you've got new gear for peace of mind that nothing is distorting in background, but after you get some confidence in your levels and all, then it's moot.
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The DR-680's headphone output is certainly nothing to write home about, but not to the point where you should bring an external amp. The two major flaws I've found are mediocre sound quality and a crummy potentiometer, however it is capable of driving most headphones at or near full volume. The gain range is anything but smooth, but overall it will work just fine for what you need to do at a show.
Another point to note is that I initially found the monitoring on the DR-680 to be quite confusing, probably because I didn't read the manual closely enough for quite a few outings. My mistake was that I thought the Solo function was what I needed to use to monitor specific stereo pairs, but all that function does is output a single channel to both left and right headphone channels. Instead, you need to use the front panel "Mix Level" button and lower the mix level to zero of any channel you don't want to hear. That's quite a tedious process because if you only want to hear channels 1&2, you've got to manually turn down 6 other channels (or 4 or 2 depending on how many total tracks you've got going). I much prefer the monitoring on the R-44 where a simple button press rotates between 1&2, 3&4, or all four mixed together.
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Yes, that's a very good summation of headphone monitoring on the DR-680.
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Hm, seems I only monitor with phones when I'm set up behind the stage someplace where it sounds like crap.... otherwise I just set the levels conservatively and listen to the show.
Don't know if this has been said previously, but the solo buttons actually mute all channels except the ones you "solo" so you can select as many channels as you want.
Good enuff for me to coast through the various mics and see how they are doing..
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crummy potentiometer.
Its some sort of digitally incremented gain, changing headphone volume level is pretty annoying. OK once set.
I don't listen while recording unless someone else has phones. The significant advantage the 680 has over the R44 in monitoring is the ability to pan. It can be a pain turning down unwanted channels, but if you're fast with the channel ganging buttons you can turn down a bunch at once.
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I am very close to grabbing a second 680. Is it true that the cascade feature does not create a true time sync between the machines?
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I am very close to grabbing a second 680. Is it true that the cascade feature does not create a true time sync between the machines?
can't speak for the 680 but i think i read similar issues with synching 2 r44's which i did not experience. The files were identical in length. there might have been a slight delay but i always line up files regardless so....i look forward to folks actual results/responses
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I run two with a V3 and a USBPre-2. The Pre-2 will sync to the spdif from the other deck giving me a full 16 channels of clock synced recording.. If you don't use the pre-2 for sync and you don't have any preamp with digital output(AES/SPDIF) then you can get 12 channels of clock synced recording. You will still need to align the start of the two different decks in your DAW but then they run perfect together
Can you expand on this explaining exactly the connections? I have a V3 and Ua5 that i would like to use to link 2 DR-680's to achieve 16 different clock synced channels.
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I run two with a V3 and a USBPre-2. The Pre-2 will sync to the spdif from the other deck giving me a full 16 channels of clock synced recording.. If you don't use the pre-2 for sync and you don't have any preamp with digital output(AES/SPDIF) then you can get 12 channels of clock synced recording. You will still need to align the start of the two different decks in your DAW but then they run perfect together
Can you expand on this explaining exactly the connections? I have a V3 and Ua5 that i would like to use to link 2 DR-680's to achieve 16 different clock synced channels.
Sure thing, however I've never used a U-A5. Does it have an digital input like the AD2k+? To make a better example, let's assume you're either using:
Setup #1) 2x DR-680s + any outboard A/D - Will give you 14 unique tracks
OR
Setup #2) 2x DR-680s + AD2k + V3 - Will give you 16 unique tracks
Setup #1 is easy-as-pie. Just take the digital out from DR-680 #1 and route it to the digital in of DR-680 #2. This gives you 14 unique tracks (12 analog inputs aka channels 1-6 on both decks) + 2 digital input tracks on deck #1. Deck #2's digital input is recording the mix output of deck #1, which is where you 'lose' two tracks.
Setup #2 is also super easy, assuming your back can haul all this equipment to the show. ;D With this setup, the sync occurs by taking a spare digital output of the V3 and running it to the AD2k+'s digital in (sync in). Doing this clock syncs the AD2k+ to the V3 and subsequently both DR-680s become clock synced w/o losing any channels. You could also do this with a USBPre2 or any other outboard A/D that can accept a digital input to clock sync.
It's really a shame that the V3 can't sync to an external clock source; that's probably the one missing feature that keeps me from buying one.
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I should add, for setup #1, the outboard A/D is completely optional. All you're doing is routing deck #1 to deck #2. We do this all the time w/ an R44 + D680; I lose two tracks on my 680 (and subsequently can't use an outboard A/D), but we end up with 10 tracks synced.
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The ua5 has a spdif in and out so it should work with the V3. I really want to avoid hauling the ad2k + sonsax + huge 12v ad2k battery and just bring the ua5 & a DVD batt.
(http://www.core-sound.com/ua5-1a.jpg)
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I am very close to grabbing a second 680. Is it true that the cascade feature does not create a true time sync between the machines?
Without doing any rereading, I was under the impression it did sync the clocks, but did not provide an absolute perfect sync with start/stop. Then there is the fact you must lose the SPDIF input one one deck for any type of signal(mic/line). It has to be used for the cascade function. all this off the top of my head and could be wrong. I have never used the cascade function but use a Sound Devices USBPre-2 in order to sync both decks without losing and inputs.
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Does anyone have a dead DR-680? I'm missing a button...
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There's a used DR680 up for sale near me but the seller doesn't have the ac adapter.
Has anyone used another adapter besides the Tascam one supplied (PS-1225L)?
There are some on ebay that are aftermarket, but I've read in the forums that the DR680 is finicky about external power and I wouldn't want to fry it.
Any suggestions?
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There's a used DR680 up for sale near me but the seller doesn't have the ac adapter.
Has anyone used another adapter besides the Tascam one supplied (PS-1225L)?
There are some on ebay that are aftermarket, but I've read in the forums that the DR680 is finicky about external power and I wouldn't want to fry it.
Any suggestions?
You'll will be fine with after market with the following specs:
12v 2.5a output, center pin positive, plug size 2.1mm x 5.5mm.
I have a local surplus electronic supply shop that has bins of used walwarts of all shapes and sizes for $5. I could grab one for you and put on the right plug. Pm me if you wanna go that route (heading to bed now, good night)
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There's a used DR680 up for sale near me but the seller doesn't have the ac adapter.
Has anyone used another adapter besides the Tascam one supplied (PS-1225L)?
There are some on ebay that are aftermarket, but I've read in the forums that the DR680 is finicky about external power and I wouldn't want to fry it.
Any suggestions?
You'll will be fine with after market with the following specs:
12v 2.5a output, center pin positive, plug size 2.1mm x 5.5mm.
I have a local surplus electronic supply shop that has bins of used walwarts of all shapes and sizes for $5. I could grab one for you and put on the right plug. Pm me if you wanna go that route (heading to bed now, good night)
Many thanks for that info. Today I'll see if the seller will drop his price for lack of ac adapter.
I'll PM you if I decide to go that route.
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With the profusion of DR-680's on ebay, it looks like this machine is now or is about to be discontinued. Anyone hear anything about a successor?
I'm not sure whether to get a used DR680 or wait for the next incarnation.
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for 517$ on Ebay.... It's a Great recorder... I may buy another. I was hoping for another firmware revision... maybe to allow the unit to be used as a preamp and mixer without recording all channels.
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for 517$ on Ebay.... It's a Great recorder... I may buy another. I was hoping for another firmware revision... maybe to allow the unit to be used as a preamp and mixer without recording all channels.
Yeah, $517 is real sweet. It's just not as much of a slam-dunk up here in Canuck-land, where you've got the lower dollar (Paypal really stretches the exchange rate...), the shipping costs (no free shipping outside the 48), the customs charge (just for looking at it -- there's actually no duty on digital recorders) and finally the wonderful 13% tax (so we can buy our politicians new office furniture and mittens).
The deals! So near and yet so far!
:'(
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NOTE: Sorry for the rant, but I'm doing my taxes and that always puts me in a terrific mood.
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Anyone have a gear bag suggestion for the DR680?? The Portabrace AR DR680 is out of my price range.
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Lowe pro nova bags
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That's what I was thinking!
Lowe pro nova bags
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Lowe pro nova bags
That's what I have.
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That's what I was thinking!
Lowe pro nova bags
I still have a Nova 5 that I bought from Stu if you want to give that a shot. You'll definitely need right angle cables, and the 680 takes up about half the main pouch, but it might work if since you don't have a big preamp behind it.
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That's what I was thinking!
Lowe pro nova bags
I still have a Nova 5 that I bought from Stu if you want to give that a shot. You'll definitely need right angle cables, and the 680 takes up about half the main pouch, but it might work if since you don't have a big preamp behind it.
That's not a Nova 5. It's smaller than the 5. It might work though.
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That's what I was thinking!
Lowe pro nova bags
I still have a Nova 5 that I bought from Stu if you want to give that a shot. You'll definitely need right angle cables, and the 680 takes up about half the main pouch, but it might work if since you don't have a big preamp behind it.
That's not a Nova 5. It's smaller than the 5. It might work though.
Oh, whoops, you're right. Its a 3. I put the 680 in, it fits pretty snuggly.
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What signal does the digital out send? Just the digital input, or can it send a mix? Is there any way to send individual channels (analoge out set to "direct") then send two specific channels through the digital out?
Also, if I set analoge out to "mix", and have a board feed into channel 5/6, then set all the other channels in the mix at 0, I would be have 3 separate outs giving the board feed, correct?
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What signal does the digital out send? Just the digital input, or can it send a mix? Is there any way to send individual channels (analoge out set to "direct") then send two specific channels through the digital out?
The digital out sends whatever monitor mix you set as a panned and level adjusted mix of the 6 inputs. If you set the machine for 'direct' output of each individual channel to it's analog RCA out, set the monitor mix levels to only output the two specific channels you want, one hardpanned left and the other right, with the other channel levels set to zero, it will do what you describe.
Also, if I set analoge out to "mix", and have a board feed into channel 5/6, then set all the other channels in the mix at 0, I would be have 3 separate outs giving the board feed, correct?
Assuming you don't have very old firmware, you would actually have board feed to all outputs. If you don't pan anything you'd get the identical mono mix of ch5 & 6 on all outputs. If you pan ch5 hardleft and ch6 hardright in the monitor mix, ch 5 would be routed to all the odd numbered RCA outs and ch6 to all the even ones. The digital out would consist of ch5 left / ch6 right.
If you set the analog out to 'direct' you'd get the ch5 input on the ch5 output, the ch6 input on the ch6 output (regardless of monitor panning or levels), and 5 & 6 on the digital out, panned however you set that in the monitor mix.
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Okay, perfect! That info is very much appreciated!
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Not that anybody cares, but I use the simultaneous direct analog outputs at the same time as the monitor mixed/panned digital output to do quick comparisons between 2channel mixdown, 2>5ch matrix decoding, and discrete multichannel playback of my surround recordings.
I patch the direct analog outputs into the 6 channel analog DVD inputs on my home theater receiver/amp and the SPDIF output into a SPDIF input on the same unit. I can then quickly switch between the two inputs on the receiver using the remote without repatching anything. I can also switch the surround matrix decoding (Dolby PLIIx, DTS Neo6) in or out for the SPDIF input to compare that against the discrete channel playback.
Pretty cool.
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I remember reading somewhere on here that they are selling for around $500 nowadays, but I don't remember where that was.
Can some kind soul provide me with a link? I'd love to get one at this great price!
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I remember reading somewhere on here that they are selling for around $500 nowadays, but I don't remember where that was.
Can some kind soul provide me with a link? I'd love to get one at this great price!
From Sonic Sense at $515
http://www.ebay.com/itm/Tascam-DR-680-Multi-Channel-Portable-Recorder-DR-680-Extended-Warranty-/171015890654?pt=US_Computer_Recording_Interfaces&hash=item27d15766de
From another seller who is taking best offers and may go to $500 (someone said they did for them):
http://www.ebay.com/itm/Tascam-DR-680-Portable-Professional-8-Track-Multi-Channel-Recorder-DR680-/261185676543?pt=US_Pro_Audio_Multi_Track_Recorders&hash=item3ccfe124ff
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^^ thank you, sir
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What is the most current firmware?
Edit: I found the updates
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Two more questions if the group would be so kind:
-How do you reset the take number back to 000?
-Does having channels set to "center" as opposed to panned hard right and left for their respective channels change the sound at all? I record all tracks mono so just having them set to center doesn't effect the stereo image later on correct?
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Two more questions if the group would be so kind:
-How do you reset the take number back to 000?
Dunno. If there isn't a menu switch for that specifically, there is probably a full reset to factory settings option that probably does that but will also reset any other setting changes you've made.
-Does having channels set to "center" as opposed to panned hard right and left for their respective channels change the sound at all? I record all tracks mono so just having them set to center doesn't effect the stereo image later on correct?
Pan settings don't do anything to the individual recorded tracks 1-6. If you set the machine to record a mix of those channels the extra stereo track, panning and level do control the aspects of that mix.
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Two more questions if the group would be so kind:
-How do you reset the take number back to 000?
Dunno. If there isn't a menu switch for that specifically, there is probably a full reset to factory settings option that probably does that but will also reset any other setting changes you've made.
-Does having channels set to "center" as opposed to panned hard right and left for their respective channels change the sound at all? I record all tracks mono so just having them set to center doesn't effect the stereo image later on correct?
Pan settings don't do anything to the individual recorded tracks 1-6. If you set the machine to record a mix of those channels the extra stereo track, panning and level do control the aspects of that mix.
Okay, cool. Thanks.
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-Does having channels set to "center" as opposed to panned hard right and left for their respective channels change the sound at all? I record all tracks mono so just having them set to center doesn't effect the stereo image later on correct?
Pan settings don't do anything to the individual recorded tracks 1-6. If you set the machine to record a mix of those channels the extra stereo track, panning and level do control the aspects of that mix.
Would you clarify this statement for me please, 'cause I am confused. Probably misinterpreting what you guys are referencing. When I record two channels, left and right mics, I pan full left and right respectively, and the resultant file transfers in stereo.
(edit: my inexperience with 'quoting' has my reply showing up in the quote.)
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Maiden Voyage last night(Yarn & Stringdusters)!! Schoeps MK4>KCY>PFA>DR680 & SBD>DR680. I'm real happy with the results, with any luck maybe I'll have the shows up in the next week. Now I need a larger bag so I can fit a preamp in my bag.
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Does having channels set to "center" as opposed to panned hard right and left for their respective channels change the sound at all? I record all tracks mono so just having them set to center doesn't effect the stereo image later on correct?
Pan settings don't do anything to the individual recorded tracks 1-6. If you set the machine to record a mix of those channels the extra stereo track, panning and level do control the aspects of that mix.
Would you clarify this statement for me please, 'cause I am confused. Probably misinterpreting what you guys are referencing. When I record two channels, left and right mics, I pan full left and right respectively, and the resultant file transfers in stereo.
(edit: my inexperience with 'quoting' has my reply showing up in the quote.)
Panning the doesn't do anything to recorded tracks. You can pan your left channel full right and vice versa, and that won't effect the stereo track from channel 1-2 (or whatever channels your mics are into) that gets recorded to your SD card. Panning only effects is the output mix. As in what is coming out of your RCA outputs. You can, however, choose the option to record this mix along with your mic inputs, (to channel 5-6 maybe? Or to the mix channels that make up 7-8? I don't know, I've never done it) so it will effect those two tracks.
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Well, I ended up buying a used DR-680 this week -- no AC adapter, no shoulder strap, and pretty roughed up. It had been owned by a film sound guy who traded up to an SD 664. I guess he wanted something he could really kick around.
Would have loved to have bought a new one off eBay, but it worked out to over $600 to get it to Canada, and I couldn't really justify the extra 200 bucks.
I did a four track recording a couple days ago and then played it back the same way Gutbucket does -- on my home theater receiver. (It's always been a great way to listen to my old TEAC 3440 tapes.)
The tracks worked out okay, so today I tried an 8 channel recording with my USBPre2. There was a bit of a scare when I couldn't hear playback of the digital track, but then I found a helpful explanation here in these pages about the MULTI/STEREO button and the track was there after all.
My question is this: Is it not possible to monitor playback of all 8 recorded tracks simultaneously on the DR-680 itself?
If you're doing a remote recording, it seems kind of a drag not to be able to hear playback of all your tracks at once.
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..You can, however, choose the option to record this mix along with your mic inputs, (to channel 5-6 maybe? Or to the mix channels that make up 7-8? I don't know, I've never done it) so it will effect those two tracks.
Not to ch5&6 but to the extra, 'stereo' channel which can be effectively channels 7&8 if using the digital input but not labled as such. That extra stereo channel can record either the digital input or the monitor-mix of ch1-6. The file it writes is labled 'stereo'.
My question is this: Is it not possible to monitor playback of all 8 recorded tracks simultaneously on the DR-680 itself?
If you're doing a remote recording, it seems kind of a drag not to be able to hear playback of all your tracks at once.
You can only monitor ch1-6 off the machine. You can only play back either ch1-6 or the stereo channel, but not all eight channels simultaneously. It's really a six track machine with an 'extra' stereo channel and that's where that limitation shows up.
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My question is this: Is it not possible to monitor playback of all 8 recorded tracks simultaneously on the DR-680 itself?
If you're doing a remote recording, it seems kind of a drag not to be able to hear playback of all your tracks at once.
You can only monitor ch1-6 off the machine. You can only play back either ch1-6 or the stereo channel, but not all eight channels simultaneously. It's really a six track machine with an 'extra' stereo channel and that's where that limitation shows up.
Thanks for the clarification. Too bad; but it's still great to have 8 recorded tracks.
I wonder if that's something they could fix in a firmware update -- though doubtful they'll bother, since the DR-680 seems about to be discontinued, perhaps to make way for a true 8 track DR-680 MKii.
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From another seller who is taking best offers and may go to $500 (someone said they did for them):
http://www.ebay.com/itm/Tascam-DR-680-Portable-Professional-8-Track-Multi-Channel-Recorder-DR680-/261185676543?pt=US_Pro_Audio_Multi_Track_Recorders&hash=item3ccfe124ff
That was me, and it arrived safe and sound last week.
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For anyone looking for an external battery pack for the DR680, the ANKER Astro3 which I got from Amazon yesterday seems pretty good.
http://www.amazon.ca/10000mAh-Multi-voltage-External-Lightning-Provided/dp/B005NGKR54/ref=sr_1_2?s=electronics&ie=UTF8&qid=1366867294&sr=1-2&keywords=anker
I did a test tonight and it ran on 12V for just a bit under six hours, recording four channels with phantom power on.
I neglected to turn off the display. I'm not sure how much of a drain that would be.
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Currently looking to (finally) bite the bullet and move away from my two DR-08s.
From Sonic Sense at $515
http://www.ebay.com/itm/Tascam-DR-680-Multi-Channel-Portable-Recorder-DR-680-Extended-Warranty-/171015890654?pt=US_Computer_Recording_Interfaces&hash=item27d15766de
Looks like that listing has ended, but for $520 they throw in headphones and a cable (and extended warranty):
http://www.ebay.com/itm/310650111390?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649
Or for $570 headphones and a handful of cables:
http://www.ebay.com/itm/170984005552?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649
Oddly still $699 on their web site:
http://www.sonicsense.com/shop-by/recording/recorders/multi-track-recorders/tascam-dr-680-multi-channel-portable-recorder.html
Anyone have experience with Sonic Sense?
Currently $520 at B&H:
http://www.bhphotovideo.com/c/product/673541-REG/Tascam_DR_680_DR_680_8_Track_Portable_Field.html
And still $699 at Full Compass, but they usually do price matching (waiting to hear back):
http://www.fullcompass.com/product/381381.html
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http://www.sonicsense.com/catalogsearch/result/?q=Tasc-dr680 (http://www.sonicsense.com/catalogsearch/result/?q=Tasc-dr680)
$494 if you sign up as a member....
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just got mine delivered! Looks like I'm officially done spending money for a while.
yeah right ;D
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Great!
Time to buy more mics!
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A used DR680 went for $385 shipped last night on ebay!! It was in mint condition as well.
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Any opinions on busman modded vs unmodded? I'm very close to purchase.
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Any opinions on busman modded vs unmodded? I'm very close to purchase.
If you are gonna run a pre in the chain get a stock unit.
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Are there any 4 channel stand alone pres?
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The RME QuadMic is one:
http://www.rme-audio.de/en_products_quadmic.php
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The RME QuadMic is one:
http://www.rme-audio.de/en_products_quadmic.php
Interesting... do you (or anyone else) have experience with this one?
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The RME QuadMic is one:
http://www.rme-audio.de/en_products_quadmic.php
Interesting... do you (or anyone else) have experience with this one?
DSatz has. Not sure if he frequents the 680 thread so posting for reference:
I own the RME preamp and think highly of it. But I've never used it with battery power, so I don't know how friendly it is for that type of use.
--best regards
And from a recent YS thread of someone selling one:
Since RME doesn't seem to be very well known in the U.S., let me just say: It's very good equipment. I have a QuadMic preamp--the best compact, lightweight, high-performance four-channel preamp I've measured or used. Its phantom powering is correctly implemented and offers enough current to drive four Schoeps "Colette" microphones simultaneously.
--best regards
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The RME Quadmic t works well with 12 V battery. I use it since two years with the same 12V battery wich powers the DR 680 and a Focusrite Scarlett 18i6 togehter. It gives you a easy way for justing the recording levels quickly through the four knobs on frontsize of Quadmic and the two on 18i6
Devide the Quadmic ouputs with Y cables to DR 680 and Scarlett 18i6 input, using the two 18i6 peramps as line input to DR 680 you have a six channel recorder backup set up behind the 6 Mic pres - DR680 6 channel on SD card, 18i6 same six channel on a netbook.
Using channel 5+6 of DR680 with their own preamps, link chanel 5+6 line out to 18i6 line in, route the mic outupts of 18i6 via SPDIF to DR680 digital in (DINmode) you even can create a real 8 channel set up on DR680 (and 18i6 too). 18i6 stays sending the signals to DR 680 even if netbook fails.
Everything runs well. I use a two LiPo12V battery set, where I can switch from one battery to the other during recording if one runs out of power.
Good luck , best regards
Grosse_j
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http://www.musiciansfriend.com/stupid/?src=3GOA2F5A&src=3GOA2F5A
429$
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http://www.musiciansfriend.com/stupid/?src=3GOA2F5A&src=3GOA2F5A
429$
That's cheap!!!!
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anybody get one before they sold out?
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same price at b&h
http://www.bhphotovideo.com/c/product/673541-REG/Tascam_DR_680_DR_680_8_Track_Portable_Field.html
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And Amazon.
http://www.amazon.com/Tascam-8-track-Portable-Digital-Recorder/dp/B0036VC3I2/ref=sr_sp-atf_title_1_1?ie=UTF8&qid=1367614370&sr=8-1&keywords=dr-680
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In a few more weeks or months I bet they sell them for $325 ;D
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In a few more weeks or months I bet they sell them for $325 ;D
FUCK....I actually had to wait for mine to arrive when they released them and I am pretty sure it was 899 then....... It's sick how cheap they are now
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Still.. I love mine. I paid 799 (with the case) worth every penny
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In a few more weeks or months I bet they sell them for $325 ;D
FUCK....I actually had to wait for mine to arrive when they released them and I am pretty sure it was 899 then....... It's sick how cheap they are now
I remember paying $1000 for a HDp2....that's $500 per channel. :P
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In a few more weeks or months I bet they sell them for $325 ;D
FUCK....I actually had to wait for mine to arrive when they released them and I am pretty sure it was 899 then....... It's sick how cheap they are now
It dropped a good $80 in the few days after I ordered mine last week, but was able to make use of it last night, so I'm happy. Previously I was using 2 DR-08s, and this is much better for a few reasons.
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Yeah, I still love mine. I can't see me getting rid of it. As much as the HS-p82 keeps calling out to me, I just can't get myself to fork over the cash. With a V3 and USBPre-2 I can even sync both of mine to my Alesis HD-24 when I need to do more than 24 track multitrack recordings. I have found myself using the stock preamps instead of the SD MP-2 more and more. Probably for easeier set up. The transformer pres of the MP_2 does have it's own flavor and works better with some mics as oppsed to others. Where the stock preamps seem to be just fine with whatever I am running. And almost all the time I am running 32GB SDHC cards now so I never have to worry about them. I do have a handful of 16GB cards for those times I wont be able to transfer them. Enough to do multiple bands over three days if needed.
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I really wish I did more 4 channel work in the same location :( when these get any cheaper I'm going to have to buy one for when I run mk41>LB>680 and mk21>TB>680 from the same location in the venue
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I've done a search through the forums, but can't find an answer to this question. (My apologies if it's been dealt with already.)
Has anyone burned 6-channel music DVDs or Blurays of their multi-track 24/96 WAV files from their DR680, using Mac OS X?
I'd like to be able to keep the WAV files at 24/96.
Thanks in advance for any input on this.
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I haven't done it, and am not a Mac user. You need authoring software to do it, which is probably costly for Blueray. Samplitude has DVD-A authoring built-in, but I've never tried it. Blueray can support 8+ channels of uncompressed LPCM at 24/96 or more I believe. If I am not mistaken, DVD cannot throughput six uncompressed channels at that rate. DVD-A can do 5 channels of 24/96 LPCM, maybe 6. I know it can do 6 at 24/48. DVD-V can only fit 6 uncompressed channels at somewhat lower resolutions I think. Easy enough to find non-speculative answers with a web search I'm sure.
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I haven't done it, and am not a Mac user. You need authoring software to do it, which is probably costly for Blueray. Samplitude has DVD-A authoring built-in, but I've never tried it. Blueray can support 8 channels of uncompressed LPCM at 24/96. If I am not mistaken, DVD cannot throughput six uncompressed channels at that rate. DVD-A can do 5 channels of LPCM, maybe 6 at 24/96, but definitely 6 at 24/48. DVD-V can only fit 6 uncompressed channels at somewhat lower resolutions I think.
Many thanks for that information. From what you've said, I know where to look now, and will see what is possible in Bluray authoring software.
But even getting 4 channels of uncompressed LPCM at 24/96 on DVD-A would be excellent.
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What are you trying to accomplish?
If you are recording 2 stereo pairs, You probably won't enjoy listening to 4 channels raw - you will need to master it down into surround sound mix which is a different topic (i have never done this and can imagine it would be alot of work) and made easier if you run a surround sound configuration when recording.
If you are running 2 stereo pairs your best bet is to mix down to a stereo file and not four channels.
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What are you trying to accomplish?
If you are recording 2 stereo pairs, You probably won't enjoy listening to 4 channels raw - you will need to master it down into surround sound mix which is a different topic (i have never done this and can imagine it would be alot of work) and made easier if you run a surround sound configuration when recording.
If you are running 2 stereo pairs your best bet is to mix down to a stereo file and not four channels.
I want to try two different setups.
1. Environmental sounds: I want to make a 4-channel recording of an outdoor location so that playback will give a surround experience to the listener. Hopefully the levels set during recording will pretty much be the playback levels. So it wouldn't matter that the 4 channels are raw.
2. Music: I want to set up a four to six channel recording of a performance (organ recital, small groups). Again, the result would be a surround playback, perhaps not exactly realistic in the case of the group, but giving the impression of being surrounded by the instruments. In the case of the organ recital, I would put one stereo pair at the front of the church, and the other further back.
These might be only rough mixes at first; then I would have to get into surround mixing as you suggest.
The idea may not work as planned, but I just need a quick way to get the tracks on a multi-channel disc to have a listen. Just so I don't always have to plug and unplug my DR-680 into my Home Theatre setup.
There's a Mac program called "BURN" which does DVD-A that I'm going to try.
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That’s similar to what I’ve been doing. I've meant to eventually edit the files and burn discs, but have never gotten around to that part. I simply plug the 6 direct outs of the 680 into the home-theater receiver for surround playback. That's much simpler and easier for me than authoring a disc. Since the mic setups are specificly chosen for multichannel surround, they don't really need any surround mixing done, just some EQ and level adjustment.
There are some free options for authoring non-compressed LPCM DVDs (not-dolby or DTS encoded) I think, but as mentioned I've not tried them.
I have a multichannel RCA cable which I keep connected to one of the receiver's 6ch DVD inputs, and just plug that into the outputs of the DR-680 or R-44 when I want to play the recordings back in full surround, sometimes using a couple 'Y' cables to mult' a single recorded surround channel to multiple speakers. That’s not ideal for long term catalog playback or playback elsewhere, but works fine and is the quickest and simplest way to give a quick listen, or even playback later at home.
Two features lacking on the DR-680 which would be helpful with this is absence of any way of adjusting individual channel output levels and any form of playback EQ on the recorder. The R-44 is limited to 4 channel playback but has the ability to adjust the output level and EQ of each channel individually if necessary. The R-44 is also easier to re-load files for surround playback on its SD cards given it's more straight-forward file system. For that reason I playback my 4 channel surround recordings using the R-44 and my 5 and 6 channel recordings using the DR-680.
The surround receiver does provides global EQ and some level control via its balance control (the individual speaker level setup is bypassed using the direct 6-channel input) which helps. In addition I sometimes plug an in-line variable attenuator stereo pot between the recorder’s surround channel outputs and the receiver inputs to gain some control over balancing the surround channel playback levels. But generally I’ve gotten pretty good at getting the recording levels pretty close to what they need to be for balanced playback without too much adjustment.
I’ll be happy to share my experience with 4, 5 & 6 channel surround recording techniques if you’re interested. Two suggestions I’ll make straight away- The first is to place the surround channel mics in relatively close proximity to the main pair/triplet but orient them so they face away from the sources on stage rather than placing them farther back in the room. The second is to consider adding a front center channel before adding more than one surround channel if limited to four channels. One mono surround channel mult’d to multiple surround speakers works surprisingly well for playback immersion, and adding the center is much more beneficial than going directly to stereo surrounds IME.
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That’s similar to what I’ve been doing. I've meant to eventually edit the files and burn discs, but have never gotten around to that part. I simply plug the 6 direct outs of the 680 into the home-theater receiver for surround playback. That's much simpler and easier for me than authoring a disc. Since the mic setups are specificly chosen for multichannel surround, they don't really need any surround mixing done, just some EQ and level adjustment.
There are some free options for authoring non-compressed LPCM DVDs (not-dolby or DTS encoded) I think, but as mentioned I've not tried them.
I have a multichannel RCA cable which I keep connected to one of the receiver's 6ch DVD inputs, and just plug that into the outputs of the DR-680 or R-44 when I want to play the recordings back in full surround, sometimes using a couple 'Y' cables to mult' a single recorded surround channel to multiple speakers. That’s not ideal for long term catalog playback or playback elsewhere, but works fine and is the quickest and simplest way to give a quick listen, or even playback later at home.
Two features lacking on the DR-680 which would be helpful with this is absence of any way of adjusting individual channel output levels and any form of playback EQ on the recorder. The R-44 is limited to 4 channel playback but has the ability to adjust the output level and EQ of each channel individually if necessary. The R-44 is also easier to re-load files for surround playback on its SD cards given it's more straight-forward file system. For that reason I playback my 4 channel surround recordings using the R-44 and my 5 and 6 channel recordings using the DR-680.
The surround receiver does provides global EQ and some level control via its balance control (the individual speaker level setup is bypassed using the direct 6-channel input) which helps. In addition I sometimes plug an in-line variable attenuator stereo pot between the recorder’s surround channel outputs and the receiver inputs to gain some control over balancing the surround channel playback levels. But generally I’ve gotten pretty good at getting the recording levels pretty close to what they need to be for balanced playback without too much adjustment.
I’ll be happy to share my experience with 4, 5 & 6 channel surround recording techniques if you’re interested. Two suggestions I’ll make straight away- The first is to place the surround channel mics in relatively close proximity to the main pair/triplet but orient them so they face away from the sources on stage rather than placing them farther back in the room. The second is to consider adding a front center channel before adding more than one surround channel if limited to four channels. One mono surround channel mult’d to multiple surround speakers works surprisingly well for playback immersion, and adding the center is much more beneficial than going directly to stereo surrounds IME.
Many thanks for your generous offer. Any help or advice would be greatly appreciated.
The music director and organist of a church in town seems amenable to my experimenting with recording setups when he's practicing. Your suggestion to point the surround mics away from the source rather than placing them further back has already changed my idea on how to mic him, and I look forward to trying that out. The church itself has wonderful acoustics, and when I tried out a simple binaural recording of a concert into my M10, sitting about midway in the hall, it turned out surprisingly good.
There seems to be a way of exporting a multiple-channel file from Audacity which could presumably be burned to DVD-A, but I haven't figured out yet how you assign the tracks to particular channels.
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Lets jump this derailment to another track-
Maybe time to revive the old surround live recording thread (http://taperssection.com/index.php?topic=7947.0). If only to make it pop up in Bob's Show new replies to your posts (http://taperssection.com/index.php?action=unreadreplies) list again.
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is there a good quick guide/FAQ out there for this recorder, with stuff like what newer SD cards/ext. batteries work best or dont work at all?
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Many thanks for your generous offer. Any help or advice would be greatly appreciated.
The music director and organist of a church in town seems amenable to my experimenting with recording setups when he's practicing. Your suggestion to point the surround mics away from the source rather than placing them further back has already changed my idea on how to mic him, and I look forward to trying that out. The church itself has wonderful acoustics, and when I tried out a simple binaural recording of a concert into my M10, sitting about midway in the hall, it turned out surprisingly good.
There seems to be a way of exporting a multiple-channel file from Audacity which could presumably be burned to DVD-A, but I haven't figured out yet how you assign the tracks to particular channels.
My best experience with organ recording is a four mic setup:
-one set of omnis closer to the organ depending on acoustics abot 5 to 7 meters distance with about 60 cm between the mics
-second set of omnis around 5m behind the first with about 1,2m distance between the mics which is more a room acoustic setup
That fits good for stereo recording mixing both sets with the same level resulting in a very good ambient acustics sound and even natural organ sound down to the lowest bass.
If you put the second set to surround back only and the first to front L and R you will have much of the church acoustis in your listening room.
I am not a friend of using a center mic for classical recordings, I prefer the 4 mic setup as the stereo front mics results in a good front image itself.
You may haven impression about the sound of that setup here:
http://www.bachverein-erlangen.de/01cd-einspielungen.html
clicking on the mp3 files "Hörproben zur CD (flash)" below the Franz Liszt Orgelwerke CD
Best regards
Grosse_j
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..or we can derail the discussion here and spare Bob. :P
Thanks for the link, Grosse_j. I look forward to giving a listen.
Your configuration seems to me an excellent choice for organ recorded in a good reverberant cathedral type acoustic, and although I think that is something of a unique recording scenario, it is of course one of the specific situations dogmuisc asked about and you are obviously an exceptionally well accomplished organ recordist. My advice to move the surround/room mics closer and make them directional is intended in a more general sense, and though I think it would work well for organ music in a church too, it is primarily directed towards more typical music of a more percussive nature with more sharpely defined transients, performed in less reverberant rooms. I find it then very quickly becomes important to reduce how much direct sound is picked up by the surround mics, even if that's done by using omnis in back but baffling or boundary mounting them to limit their pickup of the direct sound of the instruments.
When I started experimenting seriously with surround recording, I assumed I would want more level-difference stereo across the left/right axis and more time-difference across the front/back axis (using mics placed farther back in the room), but I've found I usually want the opposite. That has lead me to using directional mics for the center and surrounds in an effort to raise the ratio of direct/reverberant sound in the center mic and reduce it in the surrounds, plus omnis spaced a good meter or two apart for Left/Right. I'll substitute closer spaced directionals for Left/Right to trade off some of that left/center/right time difference for level difference in many cases, but the general principle of valuing some level and some time diffence over large time differences alone in the front/rear axis still applies.
I've found the benefit of the center channel to be substantial for both multi-channel and mixing down to 2-ch stereo, but only if one discards what would otherwise be a good 2-channel stereo main microphone technique and reworks the configuration specifically for three channels. Most recordists are understandably hesitant to stray from the 2-channel techniques which they know from experience work well, and often try to simply add a center channel microphone to their 2-channel setup, which is a recipie for dissapointment in my experience.
Similar to switching to directional surround mics for material which is less ambient and enveloping than organ in a reverberant church, in which case the surrounds actually sound worse when listened to in islolation since they are way too indirect and reverberant alone, the individual channels or left/right pair of the 3-channel optimized main mic setup will not be as good when listened to on their own, yet the combination of all channels works out better than a "good 2-channel plus extra mics" or "two or more stereo 2-channel setups mixed together approach.
One analogy is re-arranging a composition to suit different sized ensembles. Generally the more players, the more differentiated and specific each role becomes. Another is multi-track studio recording- the individual tracks are't optimized to sound best on their own, but rather as individual components that will make up a unified whole once combined. Yet another is scaling up a business from a one-guy does it all operation (mono) to a simple partnership (2-ch stereo) to a multi-employee operation (multichannel surround). Each step requries increased specilization of roles- if not, things clash.. except for special cases like organs in churches, where omnis all around are a good choice to suit the gravitas and envelopment of the instrument and a bit more space between mics helps keep them from stepping on each others's toes.
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I tried skimming through all the previous posts in all 5 threads and maybe I missed something, I had a few questions.
how long can a 5400 mah 9v universal DVD battery power 4 mics (akg 481 and naiant AKG actives (ck63)), rough estimate ?
and am I right in that 1 GB = 30 min(approx) of 4 channels at 24/48?
I am trying to get this rig ready for mtn jam and I have 4 weeks to get everything ready!
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Not sure how much current the AKGs draw, but I run ~5-6 hrs or so safely a DVD battery with 4-6 phanom powered mics, 2-4 of those via Niant PFAs. Keep charged or freash AA's in there and you can swap DVD batts when you need to without shutting down.
You are correct on file size. Here's the way I remember it: 24/48 = 1GB/hr/stereo(2-ch)
I then add or subract numbers of channels or hours based on that to estimate the needed card storage space.
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My best experience with organ recording is a four mic setup:
-one set of omnis closer to the organ depending on acoustics abot 5 to 7 meters distance with about 60 cm between the mics
-second set of omnis around 5m behind the first with about 1,2m distance between the mics which is more a room acoustic setup
That fits good for stereo recording mixing both sets with the same level resulting in a very good ambient acustics sound and even natural organ sound down to the lowest bass.
If you put the second set to surround back only and the first to front L and R you will have much of the church acoustis in your listening room.
I am not a friend of using a center mic for classical recordings, I prefer the 4 mic setup as the stereo front mics results in a good front image itself.
You may haven impression about the sound of that setup here:
http://www.bachverein-erlangen.de/01cd-einspielungen.html
clicking on the mp3 files "Hörproben zur CD (flash)" below the Franz Liszt Orgelwerke CD
Best regards
Grosse_j
Great recording!
Your setup is little more along the lines of what I had planned, and I hope to try out your microphone distances. Now that I have a DR680, it will be interesting to use all these different methods coming from your and Gutbucket's extensive experience with surround recording.
I managed to figure out how to make a DVD-A 4 channel disc at 24/96 using Audacity and Burn, both freeware. For anyone interested, it's quick and fairly uncomplicated, and, for me, easier than plugging and unplugging my DR680 into my Home Theatre system whenever I want to hear a particular surround recording.
I'll take the gentle hint and post the method here:
http://taperssection.com/index.php?topic=162384.0
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I'm diggin' those Liszt clips! Nice work.
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B&H is selling the DR-680 for under $450 now =-o Just wondering if anybody is still having issues with powering the unit with the standard 9V DVD batteries.
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I'm not aware that anyone has determined the root cause of problems experienced with some units, but 9V DVD batteries do not seem to be it. They work fine for me.
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B&H is selling the DR-680 for under $450 now =-o Just wondering if anybody is still having issues with powering the unit with the standard 9V DVD batteries.
It seemed after a long discussion and a lot of people posting problems VS batteries that the Tekkeon voltage sensing battery was one that should not be used with the 680. None of this information is absolutely proven BUT, if you dug back into the thread there is a point where I kept a running tally of what batteries where being used when someone reported a problem. There are many here, myself included, who run their 680's on the 9 volt DVD battery without any issues. WARNING>>>If you are not able to hot swap DVD batteries then it is highly recomended to keep AA batteries in your battery tray internally to prevent accidental loss of power. 680 DOES NOT do auto saves and loss of power could me loss of recording
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If I had more opportunities to multi-track I might pick up another one of these at this price.
Well worth it at this price for anyone that occasionally gets to run a matrix (SBD+mics).
I don't run mine often anymore since I mostly just do 2 channel recordings, but it's nice to have in the arsenal.
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B&H is selling the DR-680 for under $450 now =-o Just wondering if anybody is still having issues with powering the unit with the standard 9V DVD batteries.
It seemed after a long discussion and a lot of people posting problems VS batteries that the Tekkeon voltage sensing battery was one that should not be used with the 680. None of this information is absolutely proven BUT, if you dug back into the thread there is a point where I kept a running tally of what batteries where being used when someone reported a problem. There are many here, myself included, who run their 680's on the 9 volt DVD battery without any issues. WARNING>>>If you are not able to hot swap DVD batteries then it is highly recomended to keep AA batteries in your battery tray internally to prevent accidental loss of power. 680 DOES NOT do auto saves and loss of power could me loss of recording
Ok thanks. Good to know.
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I hope this hasn't already covered...I haven't read through all of the threads, but I did a quick search and didn't see anything.
When utilizing the S/PDIF in for recording on the stereo track, is there a way to force use of the internal clock, rather than the clock coming in via S/PDIF? I'm plugging in an ART DI/O, and if I just have the output of the 680 plugged into the input of the DI/O (with the DI/O set to sync to an external clock source), the DI/O locks on to the 680. However, if I then plug the output of the DI/O into the input of the 680, the 680 apparently tries to sync to the DI/O and clock is lost on both units (the "lock" LED on the DI/O blinks and playback on the 680 goes crazy).
Now, if I set a specific sampling rate on the DI/O (as opposed to just using what's coming from the 680 via S/PDIF), everything works fine. And if I have to do that, I will. However, I'd rather use the 680's clock, so that if something *did* happen with the DI/O, I'd only have 2 channels with problems, instead of all 8.
Thoughts?
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There is no provision to force use of the internal clock on the 680 while using the S/P-DIF input, it switches automatically.
If the recorder looses sync with that signal for whatever reason, it will revert to it's internal clock and continue recording the analog channels only. When that happens it will display a message which remains on the screen until you press ENTER. It will then display a similar message if/when it regains sync, and switch to clocking off the input stream again.
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There is no provision to force use of the internal clock on the 680 while using the S/P-DIF input, it switches automatically.
If the recorder looses sync with that signal for whatever reason, it will revert to it's internal clock and continue recording the analog channels only. When that happens it will display a message which remains on the screen until you press ENTER. It will then display a similar message if/when it regains sync, and switch to clocking off the input stream again.
Ok, thanks.
I never had an issue with the DI/O when going into my sound card (and always used the clock from the DI/O), but I had a bunch going into an EMU 0404. Doubting the DI/O had anything to do with it, but I'd feel slightly less nervous just using the internal clock. Oh well.
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I'm most comfortable when using the internal clock and no digital input, and slightly more nervous when I'm using the digital input because locking to an external clock is inherently somewhat less reliable.
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I'm most comfortable when using the internal clock and no digital input, and slightly more nervous when I'm using the digital input because locking to an external clock is inherently somewhat less reliable.
Agreed. Unfortunately I'm going to need all 8 tracks for a show coming up.
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I'm most comfortable when using the internal clock and no digital input, and slightly more nervous when I'm using the digital input because locking to an external clock is inherently somewhat less reliable.
Agreed. Unfortunately I'm going to need all 8 tracks for a show coming up.
I agree with Gutbucket on this.
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*sigh*
Well I am well aware that my concept of comfort seems at odds with most people's concept of common sense, but does it have to extend into taping!?
I swear every time I use mine, its with digi input from the v3 ::)
....... once again I'm trucking down the avenue with a big grin unaware that this nice cool shower is actually pissing rain ;D
-Cheers!
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I use mine with both the V3 & USBPre-2 on the digi input. The one thing I have done is to have custom SPDIF cables (granted I make my own) that have right angle connectors. This has help immensely with not only fitting things into the bag, but also increased the reliability and reduced the strain on the jack that was present in my bag set up. In fact I just finished an extra long one, that allows for taking a SPDIF signal out of digital SBD,s. There are a few venues I record in that have this feature, and I am running across it more often now. I also built one for Zaolla silver 75 ohm cable that allows me to sync the USBPre-2, this also makes for a nice high end rca patch cord if I need it too. Once I went with the right angle connections I had a lot less unlock errors even when moving things in the bag. I have enough material to make one more of the black spdif cables up to 12' long. That one is 75 ohm oxygen free copper. If you wanted one of the solid silver Zaolla we'll have to talk about it and I would need to get some ends. But that is perfect when I use two 680's ans sync them via the Pre-2. Hit me up if you want, Kirk
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hm - good point - forgot I use RA connectors too, and that plays a large part in my comfort level.
Wouldn't mind maybe having a better cable though.. maybe I'll send you PM on that.
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hm - good point - forgot I use RA connectors too, and that plays a large part in my comfort level.
Wouldn't mind maybe having a better cable though.. maybe I'll send you PM on that.
Sure, like I said, I can do a one off since I have the stuff laying around. Not looking to become a TS cable maker in the long run ;D
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Cool thanks - PM sent :)
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Press the menu button on top. Scroll down to REC and select by pressing the knob in, then scroll down to TRACK. Control the tracks to record or not to record by pressing the corresponding channel button on front. It's easy. The hard part is remembering to do this before hitting record, because once it's recording you can't change what channels are recorded.
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Press the menu button on top. Scroll down to REC and select by pressing the knob in, then scroll down to TRACK. Control the tracks to record or not to record by pressing the corresponding channel button on front. It's easy. The hard part is remembering to do this before hitting record, because once it's recording you can't change what channels are recorded.
That's the hard way. You can arm or disarm tracks simply by being in pause/rec mode and pressing the channel buttons on the front panel. No need to go into the menu.
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Yep, as long as the hold switch isn't on (or is on but not set to lock the front panel) you can change which channels are armed while in rec/pause and can so quickly with the channel selection buttons. Setting it via the menu determines the default setting, so when you power up the machine it will remember and only the channels you've pre-set are automatically armed once you press rec/pause or go straight to record. Same goes for the stereo channel.
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Sure. I'll take it off your hands. I'll pm you with details.
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Gutbucket - I like your "cooler" recording rig. I just bought a DR-680 and want to find a battery solution for using it. Can you describe the "DVD" batteries you use? What brand/model/specs...? I've searched for info on these, but I read conflicting info about the DR-680 being finicky about external battery power problems. I just want to make sure I don't fry my DR-680.
Thanks for your time,
Dave
PHOTO'S Appreciated...mine will arrive Thursday and I plan on taking it out Friday!
Couldn't find a photo of the V3 under the 680, but here's an R44 under it in the same bag. In this photo, the 680 is positioned closer to the top so I can access the top of both recorders. With the V3 in the place of the R44 there is a lot more room on top. As you can make out I tuck under the front flap of the snug Tascam case that normally covers the front, conveniently it velcros directly to the side velcro on the underside of the top flap that would normally attach to the sides, making it easy to 'lift the lid' and reach under with no velcro-rippage. The clear plastic cover still protects the front face, so the only time I unfold the front cover and use it like it is actually designed to work is when I'm carrying the recorder around by itself for playback outside the big recording bag. Don't know if the new ones comes with the snug cover included, it was a free accessory from B&H when the unit was selling for a couple hundred more.
DR-680 & R44 clock linked for 10 channels. Seperate DVD battery for each (one of which runs the V3 when it's in there)
(http://farm6.static.flickr.com/5105/5640954442_63efc343ee.jpg)
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Hi Dave,
What many of us around here refer to as 'DVD' batteries are not as common or as inexpensive as they once were. They are 9VDC output / 12VDC input LiIon batteries with an internal charger controller and state of charge meter which were originally marketed for powering small portable DVD players. They've been sold under various brand names, none of which I can remember at the moment. Um, I think one common brand name is Initial.
I think they can still be found, but aren't as cost effective as they once were in comparison to other batteries. They are quite convenient though. I think I saw new ones for sale at the local Battery Plus store last time I was in there.
If you do a search on TS for 'DVD battery' I'm you are sure to will turn up loads of information on them.
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Gutbucket - Thanks for the reply! Do all these "DVD" batteries work safely with the DR-680? Are there specs I should be looking for?
You mention that the DVD batteries aren't as cost effective as other batteries, so do you recommend something else?
I've read about professional battery distribution systems, but they are a bit overkill for my use and limited budget.
cheers,
Dave
Hi Dave,
What many of us around here refer to as 'DVD' batteries are not as common or as inexpensive as they once were. They are 9VDC output / 12VDC input LiIon batteries with an internal charger controller and state of charge meter which were originally marketed for powering small portable DVD players. They've been sold under various brand names, none of which I can remember at the moment. Um, I think one common brand name is Initial.
I think they can still be found, but aren't as cost effective as they once were in comparison to other batteries. They are quite convenient though. I think I saw new ones for sale at the local Battery Plus store last time I was in there.
If you do a search on TS for 'DVD battery' I'm you are sure to will turn up loads of information on them.
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Some 'DVD' batteries are 6V I think, those won't work.
Other batteries work, and there has been plenty of discussion about them. I don't know which to recommend as I just use the 9V DVD batteries I already have.
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You mention that the DVD batteries aren't as cost effective as other batteries, so do you recommend something else?
To power my used DR680 I bought an ANKER Astro3:
http://www.amazon.com/Anker-10000mAh-Portable-Thunderbolt-Incredible/dp/B005NGKR54/ref=sr_1_3?ie=UTF8&qid=1369314821&sr=8-3&keywords=anker+external+battery
For a test, I ran it 4-channel with two stereo mics, both with phantom power, and I got just under six hours on 12V. (I had removed the AA's.)
I'm not sure if this is a great result. Probably the DVD batteries run longer.
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I dunno exactly, but as a point of reference, the referb DVD battery I tested (about 10,000mAh) ran a V3 for over 11 hours. If you looked up draw of the 680 and V3 you might get some idea. A new 6000mAh DVD battery should give you 60% which would put you at about 6.6 hrs run time if there two draws are close. So the Ankar looks like it is rated 10,000 mAh at a lower voltage maybe 5v or 3.7v.
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I dunno exactly, but as a point of reference, the referb DVD battery I tested (about 10,000mAh) ran a V3 for over 11 hours. If you looked up draw of the 680 and V3 you might get some idea. A new 6000mAh DVD battery should give you 60% which would put you at about 6.6 hrs run time if there two draws are close. So the Ankar looks like it is rated 10,000 mAh at a lower voltage maybe 5v or 3.7v.
Thanks for that info. I guess the Anker is not the best solution for a long run time.
Are all the DVD batteries 9v? My DR680 was bought second hand without a warranty, so I was worried about using anything but the 12v that Tascam recommended.
An added plus for the Anker is that its USB 5v output will also power my USBPre2.
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if you run the pre-2 and the 680 it will be a much shorter run time on the battery. as for the 680 battery, a lot of us, myself included use the 9volt DVD. There are a handful of 6 volt versions out there but in my experience you actually have to look for them. The V2,V3 guys seem to snatch them up. The only battery that has "seemed" to be an issue with the 680 is the Tekkeon auto voltage sensing. Dunno the model # off the top of my head. Depending on what you want to spend there are some newer 9 & 12 volt options. Or you could always try an ISO in the YS for a DVD battery. I do believe that if you go over 12 volt you stand the chance of causing problems to your 680.
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if you run the pre-2 and the 680 it will be a much shorter run time on the battery.
For sure it will. I just meant that the Anker can also get use as a power source for the Pre2 because of its USB output.
Thanks again for all that other info. I'll have a look around for a 9v DVD battery. Since I usually don't need much more than 6 hours run time, the more expensive 12v options are not as attractive as the cheaper Anker.
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If I'm running SBD in on channels 5/6 analog how do I send those to the Digi coax out so I can send a digital signal to another deck?? TIA
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If I'm running SBD in on channels 5/6 analog how do I send those to the Digi coax out so I can send a digital signal to another deck?? TIA
You just put only those two channels into the mix. Pan 5 hard left, 6 hard right, both at 100%, the other channels at 0%. I can show you how to do it.
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Can you do that if you have the mix set to DIN to have 7/8 digi stereo track??
If I'm running SBD in on channels 5/6 analog how do I send those to the Digi coax out so I can send a digital signal to another deck?? TIA
You just put only those two channels into the mix. Pan 5 hard left, 6 hard right, both at 100%, the other channels at 0%. I can show you how to do it.
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Oooh, I forgot about that. I'm not sure. Anyone else have an answer for that?
I've never used the digi in, but the digital out I think will just be whatever mix you are sending out. I don't think it matters what the digital input is, but I will need someone else to correct me if I'm wrong about that.
If you have the stereo record to DIN, the digital input will record to the "stereo mix" which is track 7/8 correct?
Can you do that if you have the mix set to DIN to have 7/8 digi stereo track??
If I'm running SBD in on channels 5/6 analog how do I send those to the Digi coax out so I can send a digital signal to another deck?? TIA
You just put only those two channels into the mix. Pan 5 hard left, 6 hard right, both at 100%, the other channels at 0%. I can show you how to do it.
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You just put only those two channels into the mix. Pan 5 hard left, 6 hard right, both at 100%, the other channels at 0%. I can show you how to do it.
You'll also need to check that the stereo channel mix level is also set to 100%, in addition to ch's 5 & 6. But you’ll want all other channels set to 0%, unless you want them mixed into the S/PDIF out stream as well.
Can you do that if you have the mix set to DIN to have 7/8 digi stereo track??
According to the block diagram in the manual:
While in multi-track recording mode, the S/PDIF output is always connected directly to the stereo mix bus.
The ST REC switch routes the S/PDIF input either directly to the SD card (DIN) or to the stereo mix bus. So it appears one can mix all six analog inputs and the S/PDIF input to the stereo bus if desired.
DIN REC MONITOR switches the headphone output between the S/PDIF input or the mix bus. It doesn’t appear to touch the S/PDIF output.
If you have the stereo record to DIN, the digital input will record to the "stereo mix" which is track 7/8 correct?
Correct
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I didn't realize there was an internal mix function....I thought all mono tracks like the Sound devices recorders with the exceltio
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I didn't realize there was an internal mix function..
One thing it can't do which I'd like is internally mix the stereo channel with the other six channels on playback. You can record all 8 channels but can only playback 6 OR the stereo channel.
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I didn't realize there was an internal mix function..
One thing it can't do which I'd like is internally mix the stereo channel with the other six channels on playback. You can record all 8 channels but can only playback 6 OR the stereo channel.
Ad you can't do a mix while recording and send it to a specific output.
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Anyone have an opinion on using a UA-5 for the digital input? What about a Denecke ad-20?
I'm looking for an a/d that will be compatible with the 680 and unfortunately do not have much to spend.
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Anyone have an opinion on using a UA-5 for the digital input?
I've used a BMP2+ UA-5 with my DR-680 when I need the extra two channels.
It works fine. I can't remember how I do it off the top of my head. I have a cheat sheet I carry in my gear bag me that details the procedure when I need to do that.
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Anyone have an opinion on using a UA-5 for the digital input?
I've used a BMP2+ UA-5 with my DR-680 when I need the extra two channels.
It works fine. I can't remember how I do it off the top of my head. I have a cheat sheet I carry in my gear bag me that details the procedure when I need to do that.
Cool, thanks. I'm on the fence since its so old, but would really like an reasonably priced a/d, and with a pre included, I'm tempted. It does output 24 bit right? I guess I'll search the around for the answer, since this is off topic, but wasn't there some confusion on this point in the past?
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Anyone have an opinion on using a UA-5 for the digital input?
I've used a BMP2+ UA-5 with my DR-680 when I need the extra two channels.
It works fine. I can't remember how I do it off the top of my head. I have a cheat sheet I carry in my gear bag me that details the procedure when I need to do that.
Cool, thanks. I'm on the fence since its so old, but would really like an reasonably priced a/d, and with a pre included, I'm tempted. It does output 24 bit right? I guess I'll search the around for the answer, since this is off topic, but wasn't there some confusion on this point in the past?
I don't use the UA-5 for 24bit, but it will output 24bit audio.
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Anyone have an opinion on using a UA-5 for the digital input? What about a Denecke ad-20?
I'm looking for an a/d that will be compatible with the 680 and unfortunately do not have much to spend.
not 24 bit
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Anyone have an opinion on using a UA-5 for the digital input? What about a Denecke ad-20?
I'm looking for an a/d that will be compatible with the 680 and unfortunately do not have much to spend.
not 24 bit
Ah, thanks. Well thats out.
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Any comments in regards to the Busman modded 680? I'm told with no external pre definitely get it modded...just curious as others have said they see no tangible performance difference with the mod.
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Nah. It doesn't fall anywhere close to the 'definitely' category [edit- unless it's coloration you are looking for]. I've not heard the Busman mod, but feel no need to change the stock pres. They are clean, quiet and do the job. I'm not saying I don't hear any difference at all when I use the V3, but I have no hesitation in not using it, and haven't really set things up correctly to listen closely and critically enough to my own samples made both ways to be convinced I'm not just self-biased and imagining I hear a difference. I pretty much use it for practical reasons, like when I need all 8 channels. [but the V3 is a 'clean' preamp, similar to what the built-in 680 preamps are designed to be anyway. If you want the coloration of transformer saturation, the argument for using an external preamp that provides that becomes more compelling]
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I use my UA-5 digi out and it works great!
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About to snag a ua5 bmp2+ myself to use with 680...
What battery are you using with UA5?
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I personally have found the V2 to be more detailed/have more clarity than the 680 pres. The 680 pres, to me, also have a much more pronounced low end (often overwhelming so compared to the V2).
I've been running AKG CK 1X directly into the 680 and have found it does not sound as good as when I was running a V2 in between. Originally I ran CK 1X > V2 > 680, but once I got a set of CK 63s I've been using them with the V2 and CK 1X > 680 as back up, and have never once preferred the 680 pres. This obviously may have to do with the fact that the 63s should be a better mic in general, but still.
Just my opinion. In the very few options I've tried, I definitely prefer the external pre to the stock 680 ones.
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About to get a UA5 but hope to find a v2 and an ad2k again...
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More detail and clarity is what I think I hear when I use the V3, but then I'm going digital in and using the V3's ADC as well. I've never run the V3 in analog. I suspect the difference may possibly be more evident in your case due to the characteristic AKG 'sound' which I think of as manifesting mostly in the upper midrange / treble region which is pretty much the detail and clarity region.
I need to go back and do some more critical listening now!
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Cross post from my resurrection of the battery thread but should be of interest to y'all
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Also grabbed a http://www.amazon.com/gp/product/B00B7ID99I/ref=oh_details_o00_s00_i01?ie=UTF8&psc=1 (http://www.amazon.com/gp/product/B00B7ID99I/ref=oh_details_o00_s00_i01?ie=UTF8&psc=1) for $15.00. Not bad for a 32gb class 10/UHS-1 card. Only issue is that I don't think that the 680 will take advantage of the UHS feature which slows down the card a bunch. Oh well, I know my Nikon D7000 will make use of the UHS so I'll just take one of my regular Class 10 cards for the 680.
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Dredging this up from part 3:
Well nobody answered my question as to whether the Hi-gain setting is a boost or not. I posed the same question to Chris Johnson, the man who does the Busman mods on the DR-680. Here's what he had to say in case anyone is interested:
"Well the low gain is really a cut as it uses resistors like a pad but I feel that it should be left in low gain and only use high gain if needed. The noise floor in low gain is better. I look at it like this… If you need to turn the gain up past 20 in low gain then switch to high gain and use less gain to give the best noise floor and headroom.
I think that each person should do what makes them comfortable and gives them the best sound. I do not subscribe to the opinion of not running something through a couple extra resistors in because it “may give less circuit noise”, the difference is negligible in this case.
The stock unit has a much higher amount of noise in high gain than the low gain setting. The modified unit lowers the noise by -12db in high gain and -6db in low gain. The stock unit from my measurements has about 30db more noise in high gain at the 0 setting for gain.
Hopefully this clears the air a bit."
The other day I recorded an acoustic show in my living room. The vocal mic was an SM58 and was maybe a foot from the singer's mouth, so it wasn't getting hit very hard. I had the mic gain set to LOW and the trim up to about 20 or 25. Alas, the vocal track ended up with a fair amount of noise on it. Not terrible, but more than I was hoping for. But I was following the directions from the manual:
When adjusting the input level, at first, set the MIC
GAIN switch to LOW and adjust the input level on
the TRIM screen. If the input level is still too low even
when the trim is set to maximum, set the MIC GAIN
switch to HIGH
Tonight I decided to play around a bit with a mic splitter, first sending the second feed to a mixer and then to the 680 via line-in, and then directly to another channel with the gain set to HIGH. After adjusting the trim so the levels were the same, both of those resulted in *far* less noise than recording directly with the gain set to LOW.
Obviously there's going to be a greater chance of overload with the gain set to HIGH, but I certainly question the HIGH setting being noisier. Yes, when you're switching back and forth, there's clearly more noise with HIGH, but that's because the overall gain is much higher. Adjust the trim so the levels are the same and it sure seems like HIGH results in less noise.
Anyone else have thoughts when using dynamic (or ribbon) mics? Presumably with condenser mics the input is usually going to be too high for the HIGH setting.
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Tonight I decided to play around a bit with a mic splitter, first sending the second feed to a mixer and then to the 680 via line-in, and then directly to another channel with the gain set to HIGH. After adjusting the trim so the levels were the same, both of those resulted in *far* less noise than recording directly with the gain set to LOW.
Did you measure how much gain was added by the mixer? That's the uncontrolled variable I see in the test scenario.
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Did you measure how much gain was added by the mixer? That's the uncontrolled variable I see in the test scenario.
No measurements. Just had the direct LOW input panned left and either the direct HIGH input or the line input via the mixer panned right, and adjusted the levels until the source was centered. The difference in noise was not subtle. And of course when not using the mixer that variable was eliminated entirely.
I suppose I could make some test clips to analyze, but like I said, the difference wasn't subtle.
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Those of you that are running the Anker battery with the 680... Are you using just the DC->DC cable that comes with it or are you bothering with the "Adapter C" which appears to be 5.50 x 2.10mm. I cant find anything that states what the size is of the plug on the regular cable that comes with it but it seems to fit on the 680 just as securely. I don't have a volt meter to test polarity but they both seem to be Positive inner. If anything I'm guessing the adapter has a slightly smaller inner diameter but the difference is tiny if at all. Y'all bothering with sticking the adapter on the end or just using the supplied cable as is?
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Those of you that are running the Anker battery with the 680... Are you using just the DC->DC cable that comes with it or are you bothering with the "Adapter C" which appears to be 5.50 x 2.10mm. I cant find anything that states what the size is of the plug on the regular cable that comes with it but it seems to fit on the 680 just as securely. I don't have a volt meter to test polarity but they both seem to be Positive inner. If anything I'm guessing the adapter has a slightly smaller inner diameter but the difference is tiny if at all. Y'all bothering with sticking the adapter on the end or just using the supplied cable as is?
I started off adding the adapter, but ended up using just the plain supplied DC->DC cable as is. It actually seemed like a better fit and less fiddly.
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Tonight I decided to play around a bit with a mic splitter, first sending the second feed to a mixer and then to the 680 via line-in, and then directly to another channel with the gain set to HIGH. After adjusting the trim so the levels were the same, both of those resulted in *far* less noise than recording directly with the gain set to LOW.
Did you measure how much gain was added by the mixer? That's the uncontrolled variable I see in the test scenario.
Here are a couple of clips for examples:
SM57:
http://lukpac.org/mp3/samples/SM57_st.flac
AT853:
http://lukpac.org/mp3/samples/AT853_st.flac
Other than normalization, there was no post-processing of the files.
The output of the AT is higher and the difference doesn't seem as pronounced. Probably not a big deal if you're using high output condensers and/or recording loud groups, but it was definitely an issue for me recording quiet acoustic music.
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Those of you that are running the Anker battery with the 680... Are you using just the DC->DC cable that comes with it or are you bothering with the "Adapter C" which appears to be 5.50 x 2.10mm.Y'all bothering with sticking the adapter on the end or just using the supplied cable as is?
I started off adding the adapter, but ended up using just the plain supplied DC->DC cable as is. It actually seemed like a better fit and less fiddly.
Thanks for the reply and info dogmusic! Thats pretty much what I figured I was going to do but I am grateful for the confirmation that it will be secure in the long run. At some point I'll have to build myself a right-angle connector so it puts less force on the plug when the unit is in my bag in real life conditions but it seems to work fine for now. I also went ahead and picked up a set of the new 2500 mAh AA Eneloops (http://www.amazon.com/gp/product/B008LTJJJA/ref=oh_details_o00_s00_i00?ie=UTF8&psc=1) to act as my internal backup both for recording time or hot swapping if I get another external. I have been using the normal 2000 mAh AA in my photo gear for about a year now and love the things but that is a whole other discussion.
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Last night while recording, I lost power to the DR-680 before pushing stop. There are no files with the show and only some 0 kb files. Anyway to recover the missing data? As it is recording, is there any setting to write to the file every so often? Thankfully was recording to a DR-100mkii too but probably lost the 4 mic mix and hypercardioid source (DR-680).
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Last night while recording, I lost power to the DR-680 before pushing stop. There are no files with the show and only some 0 kb files. Anyway to recover the missing data? As it is recording, is there any setting to write to the file every so often? Thankfully was recording to a DR-100mkii too but probably lost the 4 mic mix and hypercardioid source (DR-680).
Try this:
http://taperssection.com/index.php?topic=161409.msg2029498#msg2029498
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Yes that worked, Fatah Ruark. It didn't recover the whole show but almost and enough to do the comparison that I was looking to hear. Thanks.
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Last night while recording, I lost power to the DR-680 before pushing stop. There are no files with the show and only some 0 kb files. Anyway to recover the missing data? As it is recording, is there any setting to write to the file every so often? Thankfully was recording to a DR-100mkii too but probably lost the 4 mic mix and hypercardioid source (DR-680).
What battery were you using?
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Last night while recording, I lost power to the DR-680 before pushing stop. There are no files with the show and only some 0 kb files. Anyway to recover the missing data? As it is recording, is there any setting to write to the file every so often? Thankfully was recording to a DR-100mkii too but probably lost the 4 mic mix and hypercardioid source (DR-680).
What battery were you using?
FWIW, this can happen with any battery if the battery goes dead before saving the file and there's no AA's installed. Just saying because there has been so much discussion on which batteries should (or shouldn't) be used with the DR-680. I keep recharged AAs in my 680 as backup and use an external battery as primary to prevent this from occurring.
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FWIW, this can happen with any battery if the battery goes dead before saving the file and there's no AA's installed. Just saying because there has been so much discussion on which batteries should (or shouldn't) be used with the DR-680. I keep recharged AAs in my 680 as backup and use an external battery as primary to prevent this from occurring.
Agreed. So far I've only been running off of AC, but even so, I keep it filled with AAs in case there's any sort of power interruption.
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Yep, it's definitely a very good idea to leave AA's in the deck even when running on external power. That said, make sure you use rechargeables and check to make sure they are not drained before each show because if you forget to turn off your deck they will most likely be dead the next time around.
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Yep, it's definitely a very good idea to leave AA's in the deck even when running on external power. That said, make sure you use rechargeables and check to make sure they are not drained before each show because if you forget to turn off your deck they will most likely be dead the next time around.
Why not use alkalines that aren't likely to drain when not in use?
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The issue is forgetting to turn off the deck, not self-discharge. It happens to the best of us, so it's nice to be able to recharge rather than discard.
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Last night while recording, I lost power to the DR-680 before pushing stop. There are no files with the show and only some 0 kb files. Anyway to recover the missing data? As it is recording, is there any setting to write to the file every so often? Thankfully was recording to a DR-100mkii too but probably lost the 4 mic mix and hypercardioid source (DR-680).
What battery were you using?
FWIW, this can happen with any battery if the battery goes dead before saving the file and there's no AA's installed. Just saying because there has been so much discussion on which batteries should (or shouldn't) be used with the DR-680. I keep recharged AAs in my 680 as backup and use an external battery as primary to prevent this from occurring.
Gotcha!Yep, it's definitely a very good idea to leave AA's in the deck even when running on external power. That said, make sure you use rechargeables and check to make sure they are not drained before each show because if you forget to turn off your deck they will most likely be dead the next time around.
Great idea!
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I'm buying one after festie season. It will be perfect for running both my rigs into one deck!
Mk41>KCY>LB(OT)>dr680 & mk4>KCY>LB(OT)>dr680
Can't beat the price. And I will ALWAYS have AAs in it just in case!
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Tree hugger = alkaline hater. :)
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Yeah, I've switched over to re-chargeables for nearly everything in our house. Remote controls, flashlights, wall clocks etc...
So, call me a tree-hugger.
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Tree hugger = alkaline hater. :)
Normally I would agree, but if they are just being used for backup, as opposed to active recording, I would think alkalines actually make more sense. Since rechargeables lose charge over time, you need to periodically charge them even if they aren't actually being used. Same reason why using rechargeables in flashlights isn't recommended.
Of course, if you're using the AAs as your primary source of power, that's another story.
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Tree hugger = alkaline hater. :)
Normally I would agree, but if they are just being used for backup, as opposed to active recording, I would think alkalines actually make more sense. Since rechargeables lose charge over time, you need to periodically charge them even if they aren't actually being used. Same reason why using rechargeables in flashlights isn't recommended.
Of course, if you're using the AAs as your primary source of power, that's another story.
That just doesn't make sense to me. If you're going to be using them as backup, you can just charge them before every show ;)
Tonedeaf, how long do AAs last if they're your primary power source? I won't be using phantom on my 680, as ill be running my LBs to power my actives ;)
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Last night while recording, I lost power to the DR-680 before pushing stop. There are no files with the show and only some 0 kb files. Anyway to recover the missing data? As it is recording, is there any setting to write to the file every so often? Thankfully was recording to a DR-100mkii too but probably lost the 4 mic mix and hypercardioid source (DR-680).
What battery were you using?
When I lost power to the DR-680, I was using a 18000mah Universal Lithium Battery with no AA in as backup. I have two of the 18000mah Universal Lithium Battery and had them stacked but the battery that was on top has lost it's rubber feet. The top battery must have pushed the power button on the bottom battery because the cable is just fine. I have been running the DR-680 lithium battery at 12V with no problems. I think it was user error the other night not the deck.
Yeah I need to get some AAs for backup, especially if I leave the backup deck at home.
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And on a side note. I lost 5-gallons of Kolsch earlier in the same evening. The picnic tap must have gotten bumped open after closing the chest freezer lid. The beer was all at the bottom of the chest freezer when I went to get another pint. Good thing I had made 10 gallons. I was having troubles last Friday.
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And on a side note. I lost 5-gallons of Kolsch earlier in the same evening. The picnic tap must have gotten bumped open after closing the chest freezer lid. The beer was all at the bottom of the chest freezer when I went to get another pint. Good thing I had made 10 gallons. I was having troubles last Friday.
Bummer :(
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Tree hugger = alkaline hater. :)
Normally I would agree, but if they are just being used for backup, as opposed to active recording, I would think alkalines actually make more sense. Since rechargeables lose charge over time, you need to periodically charge them even if they aren't actually being used. Same reason why using rechargeables in flashlights isn't recommended.
That's a completely reasonable concern, and is certainly true for standard NiMH rechargables. However, it is not the case for low-self-discharge (LSD) NiMH rechargables, which retain charge for long time periods very similar to alkaline cells. I typically recharge the Maha Imedion LSD AAs kept in my 680 as a backup supply about twice a year, unless I accidentally use them. They have a slightly lower total mAhr rating than the highest capacity regular NiMH cells which loose charge rather quickly, but still more than alkaline cells. Others use Sanyo Eneloop LDSs whcih are comparable.
That just doesn't make sense to me. If you're going to be using them as backup, you can just charge them before every show ;)
It takes 8 AAs. That requires two cycles with your 4-slot charger, Bean. Doable but not convenient. However, if the AAs are your primary power source it's probably wise to do so.
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Good points! It only takes my charger no time at all to charge 4 batteries tho ;) well when I get mine I will run an external battery and AAs as well, just to be safe ;)
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I'm loving the Imedion low self discharge AA's in my DR-680. I bought 16 of them and use them in my cameras too. They really do hold a charge for a good long time.
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Yep. I only use low self-discharge NiMH rechargables and have an 8-cell Maha charger. If they need to be recharged, it's as convenient as a single 60 minute cycle. Certainly far more convenient that running to the bodega for new alkaline batteries when you don't have any spares on hand.
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Bean, you asked about the run-time with AA's. I haven't done any AA only run-time tests, but the manual says 4 1/2 hours.
However, I HAVE done run-time tests with my external 12V batteries and I've confirmed that, for the way I use it (digital input, two channels recording, headphones plugged in) my deck pulls around 500ma. Since your average NiMH AA batteries are 2400mah and since 8AA = 12v, I'm gonna say that 4 1/2 hours is spot on for a run-time (2400mah/500ma = 4.8hr). In reality, my power consumption came in at more like 450ma but I rounded up for puposes of figuring out my power needs.
FWIW, the manual says that the unit pulls 9W but it doesn't specify the conditions at which 9W are consumed. 500ma x 12V = 6W, so I'm finding that for the manner in which I run the unit, I'm pulling 2/3 of the power draw than is used at peak.
BTW...just to make sure everyone knows, my comment about about tree huggers and alkaline batteries wasn't made with much serious intent. That said, I do understand the dead batteries are one of the really icky-est things that we throw into the trash.
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What level output do the RCA outs send? Is it generally much weaker than the input level?
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What level output do the RCA outs send? Is it generally much weaker than the input level?
I don't think so if set to line-input. Are you getting low output levels or just wondering? If low, hit the MIX LEVEL button and turn up the level of both the individual channel output(s) AND the stereo output buss all the way, or switch to discrete channel outputs and you needn't worry about the stereo buss.
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What level output do the RCA outs send? Is it generally much weaker than the input level?
I don't think so if set to line-input. Are you getting low output levels or just wondering? If low, hit the MIX LEVEL button and turn up the level of both the individual channel output(s) AND the stereo output buss all the way, or switch to discrete channel outputs and you needn't worry about the stereo buss.
Ah, okay, thanks. I have been getting low output. This weekend problematically so, but thats a different story.
I do have the outs set to stereo mix, and I have the channel outputs at 100% but I may not have stereo output all the way up. I'll have to double check that.
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I have the channel outputs at 100% but I may not have stereo output all the way up. I'll have to double check that.
That caught me at first too. I think the stereo buss level defaults to 50%, but the machine remembers your setting after you turn it up higher.
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Just got on the bus and last w/end was my first outing with the 680.
Off hand things went off without a hitch. Moving from a R4 I'll have to say there are far more buttons/options to play around with than what the R4 had!
I had 4 channels going in, 2 phantom and the other 2 were line in. Resulting wav files gave me three tracks though, inputs 1+2, inputs 3+4, then one called mix.
Bought mine used and no manual came with it, but it obviously creates a mix for you on the recorder (versus doing it later), wasn't expecting that. Do most of you use that "mix" recording if you are making a matrix, or just mix your own version later on?
Overall though I think I'm going to like this unit...!
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The real time mix is fine to use if using two pairs of audience mics. Moreover, anytime you don't new to worry about delay between two or more sources (I.e. sbd + aud). If you bring headphones to monitor, you can adjust the levels and pan for each channel going into the mix.
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Personally, I record the tracks mono instead of the stereo option. Doesn't really make a difference I don't think, and not that you couldn't easily change it in post, but for some reason I just like not having any two tracks actually "connected" during recording in case I make a mistake.
I never record the mix track. Like hi lo said, if you're making a mix of two sources that aren't in pretty much the exact same spot, its a good idea to align them in post to avoid echos or artificial reverb from the delay. Some people don't worry about this if the mic source is close to the PA, so the delay is minor, but personally even running on stage where the delay is pretty much nonexistent, I still correct for the very small discrepancy.
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I never record the mix track. Like hi lo said, if you're making a mix of two sources that aren't in pretty much the exact same spot, its a good idea to align them in post to avoid echos or artificial reverb from the delay. Some people don't worry about this if the mic source is close to the PA, so the delay is minor, but personally even running on stage where the delay is pretty much nonexistent, I still correct for the very small discrepancy.
I'd tend to argue that at least some delay is a *good* thing, and can lend a sense of space. Also less odd phase issues that way. I would likely never "correct" a delay if the audience mics were on stage, and depending on the sound might actually add more.
That said, the mix track is nice for a quick reference (i.e., to throw on an MP3 player or to send somebody a clip), but I'd never use it for the final product. Obviously no chance for any sort of separate EQ/compression/etc with the real time mix.
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Welcome to the more than 4 channel recorder club. Check your firmware version and update it if its not one the most recent or 2nd most recent. You can download firmware update and the complete user manual as a PDF on the DR-680 page of the Tascam website.
The mix file is always 2-ch stereo and can be turned on or off, or alternately set to record the SPDIF input seperately from the other channels (but still synced) which providings the capability of recoding 8 seperate channels.
Sometimes I set the machine to write mono files if those don't consist of obvious stereo pairs or if I want to double the recording time before a file split occurs. Other times I set it to make multiple 2 channel files because that has the advantage of easy direct stereo playback from the computer without doing anything to the files.
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if I want to double the recording time before a file split occurs.
hey good thinking!
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So when I get one this fall I want to do 4 channel mono so I can do (4) hours at 24/96 ???
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hey good thinking!
;) Gonna see you this year for anything at LiveOak?
So when I get one this fall I want to do 4 channel mono so I can do (4) hours at 24/96 ???
Nope. That would get you 2 hrs. before the 2GB point. You get 4 hrs at 24/48/mono.
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Oh ok thanks bro. I use 24/44.1 anymore anyway so no biggie. For local shows ill probably roll 24/96 but for festies I do 24/44.1
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;) Gonna see you this year for anything at LiveOak?
'fraid not man. Roving to other places..
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Rove on brother, it's a big world out there.
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If I'm using the digi in on the 680 for a preamp and want to send an SBD feed to the digi out from either channels 1/2 or 3/4 how would I set that up?? TIA
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If I'm using the digi in on the 680 for a preamp and want to send an SBD feed to the digi out from either channels 1/2 or 3/4 how would I set that up?? TIA
I'm not following what you want to do. Is this correct?
- mics -> preamp/ADC -> Tascam digital IN
- SBD -> Tascam analog 1/2 IN -> Tascam digital OUT ?
I haven't used the digital out yet, so I can't comment too much on that, but why would you need to do that?
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If I'm using the digi in on the 680 for a preamp and want to send an SBD feed to the digi out from either channels 1/2 or 3/4 how would I set that up?? TIA
I'm not following what you want to do. Is this correct?
- mics -> preamp/ADC -> Tascam digital IN
- SBD -> Tascam analog 1/2 IN -> Tascam digital OUT ?
I haven't used the digital out yet, so I can't comment too much on that, but why would you need to do that?
That is correct and I want to do that so I can send the digital SBD feed to a friends 680 instead of analog.
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From the manual:
Digital/Sync In Jack
The signal input on this jack can be recorded on Tracks 5 & 6 or the Stereo Mix (7 & 8)
Digital/Sync Out Jack
The Stereo Signal mixed by the internal Mixer is out put from this jack
If I'm using the digi in on the 680 for a preamp and want to send an SBD feed to the digi out from either channels 1/2 or 3/4 how would I set that up?? TIA
In bold...Are you trying to create TWO digi Inputs? If you want to send channels 1-4 out you can set up a Mix of 1/2 & 3/4 which goes to channel 7 & 8 (in the mix run the levels of 5/6 digi in all the way down) With Digi Pre on channels 5 & 6
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I want to take a SBD feed from channels 3/4 and set them to the Digi coax output so I can run that to the digi input on another 680 (pass along the SBD feed). That way only one of us has to hookup to the Sound board.
From the manual:
Digital/Sync In Jack
The signal input on this jack can be recorded on Tracks 5 & 6 or the Stereo Mix (7 & 8)
Digital/Sync Out Jack
The Stereo Signal mixed by the internal Mixer is out put from this jack
If I'm using the digi in on the 680 for a preamp and want to send an SBD feed to the digi out from either channels 1/2 or 3/4 how would I set that up?? TIA
In bold...Are you trying to create TWO digi Inputs? If you want to send channels 1-4 out you can set up a Mix of 1/2 & 3/4 which goes to channel 7 & 8 (in the mix run the levels of 5/6 digi in all the way down)
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If I'm using the digi in on the 680 for a preamp and want to send an SBD feed to the digi out from either channels 1/2 or 3/4 how would I set that up?? TIA
I'm not following what you want to do. Is this correct?
- mics -> preamp/ADC -> Tascam digital IN
- SBD -> Tascam analog 1/2 IN -> Tascam digital OUT ?
I haven't used the digital out yet, so I can't comment too much on that, but why would you need to do that?
That is correct and I want to do that so I can send the digital SBD feed to a friends 680 instead of analog.
If Hypnocracy is correct and the digital out is the mix, just run the SBD to 1/2, pan 1 hard left and 2 hard right, set the levels of 1, 2, and mix to 100 and 3-6 to 0.
Obviously if your SBD input is on 3/4, adjust the mix accordingly.
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FOR THE RECORD....
I've never output anything on the Digi Output of my 680...this is all just my understanding of what is being said in the manual
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That is correct and we have run that way before, but when running the V3 digi in we couldn't seem to get the SBD feed to the Digi output. It worked fine when using analog pres.
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We have run that way before, but when running the V3 digi in we couldn't seem to get the SBD feed to the Digi output. It worked fine when using analog pres.
I suppose I can hook up my ART DI/O and see what happens. I've tested digital input before, but I've never checked the digital output.
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That is correct and we have run that way before, but when running the V3 digi in we couldn't seem to get the SBD feed to the Digi output. It worked fine when using analog pres.
Did you get NOTHING or the V3 input on the Digi out?
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It was about a month ago and I was :drunk: so I don't remember exactly, but I think it was sending the V3 signal.
That is correct and we have run that way before, but when running the V3 digi in we couldn't seem to get the SBD feed to the Digi output. It worked fine when using analog pres.
Did you get NOTHING or the V3 input on the Digi out?
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OK now I have a file saving error and I am 100% sure I hit stop before powering down. Have tried the homegrown header reapair, DOS fix and reapir functions and photorec. anyone ever find a solid way to recover these lost files. I am sort pissed and you know TASCAM don't give a shit
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OK now I have a file saving error and I am 100% sure I hit stop before powering down. Have tried the homegrown header reapair, DOS fix and reapir functions and photorec. anyone ever find a solid way to recover these lost files. I am sort pissed and you know TASCAM don't give a shit
Was the unit responsive when you powered down?
The first time I recorded a show with my DR-08 it had locked up and wouldn't let me do anything. I think I had to pull the batteries to get it to turn off. The card appeared to be empty, but after running chkdsk and importing manually with Audacity I was able to get the recording.
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Recently I had some files that were recovered successful with the DOS repair and audacity. All of them were successfully recover with just chkdsk, renamed file extension to WAV, and dragged WAV into CD Wave Editor.
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Recently I had some files that were recovered successful with the DOS repair and audacity. All of them were successfully recover with just chkdsk, renamed file extension to WAV, and dragged WAV into CD Wave Editor.
fix and repair are all functions of chkdsk DOS command. I can see you have not ever dealt with lost files on a 680. And, I take it by the lack of responses that everyone else who has does not have a good answer either. Maybe someday either a code guy or if a miracle happens Tascam will offer up something that can recover these lost files.........
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^ and ^^
there's a whole thread on that topic here
http://taperssection.com/index.php?topic=72936.0
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Recently I had some files that were recovered successful with the DOS repair and audacity. All of them were successfully recover with just chkdsk, renamed file extension to WAV, and dragged WAV into CD Wave Editor.
fix and repair are all functions of chkdsk DOS command. I can see you have not ever dealt with lost files on a 680. And, I take it by the lack of responses that everyone else who has does not have a good answer either. Maybe someday either a code guy or if a miracle happens Tascam will offer up something that can recover these lost files.........
OK? Sorry must not have understood your problem. I do have a 680 and earlier had a file saving error. Thankfully this forum was able to help recover them.
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It was about a month ago and I was :drunk: so I don't remember exactly, but I think it was sending the V3 signal.
That is correct and we have run that way before, but when running the V3 digi in we couldn't seem to get the SBD feed to the Digi output. It worked fine when using analog pres.
Did you get NOTHING or the V3 input on the Digi out?
I'm not positive but I think the digi out will send a stereo mix of channels 1-6 OR simply pass on the digi in.
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^ and ^^
there's a whole thread on that topic here
http://taperssection.com/index.php?topic=72936.0
^and^^
Already said I tried the homegrown header repair function which is what you are linking too
Have tried the homegrown header repair,
Let me rephrase it. Any of you guys with 680's that have had file saving problems ever find any solutions that gave consistent results recovering lost files on the 680? PLEASE don't just cite things that might work or that worked for something else. This is not something I am new to and I have owned the 680 since it was released. I have been involved with MANY MANY MANY discussions here on TS, and with Tascam about the problem.
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Let me rephrase it. Any of you guys with 680's that have had file saving problems ever find any solutions that gave consistent results recovering lost files on the 680? PLEASE don't just cite things that might work or that worked for something else. This is not something I am new to and I have owned the 680 since it was released. I have been involved with MANY MANY MANY discussions here on TS, and with Tascam about the problem.
I kind of hinted at this above, but...what are you doing when this is happening? Is it happening a lot? Are you losing power, or is the unit just freezing up?
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Had a problem with the DR680 this weekend.
Had this recorder for over 2 years and had minor problems though nothing like this. I was running 3 sets of mics. 2 sets of mics thur preamps and one set of mics running 48V phantom power. Well the temp of the day was 99.8 under the SBD tent and the concrete was way hotter. It was hot to the touch the ground.
Anyway I was running the deck and first set is fine. Second set notice the levels on the mics with phantom is acting weirdly. It is not going all the way down on low sounding music and I can tell something is wrong. I touch the deck and is IT HOT. LIKE HOT TO THE TOUCH. Almost burning. I had the DR680 in a lowe bag on the hot ground and in a garbage for rain. DR680 also is in the case.
When I get home the set of mics with phantom did record thought not correctly. It had a cylindrical sound that others have mentioned on here.
So the next day I run again and same thing happens when the deck gets really hot after an hour+ of running. This day is even hotter then the day before.
I am now at home in AC and running it for over an hour and no problems with deck or those mics. So it seems that heat could affect the deck mostly running with phantom power on.
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Had a problem with the DR680 this weekend.
Had this recorder for over 2 years and had minor problems though nothing like this. I was running 3 sets of mics. 2 sets of mics thur preamps and one set of mics running 48V phantom power. Well the temp of the day was 99.8 under the SBD tent and the concrete was way hotter. It was hot to the touch the ground.
Anyway I was running the deck and first set is fine. Second set notice the levels on the mics with phantom is acting weirdly. It is not going all the way down on low sounding music and I can tell something is wrong. I touch the deck and is IT HOT. LIKE HOT TO THE TOUCH. Almost burning. I had the DR680 in a lowe bag on the hot ground and in a garbage for rain. DR680 also is in the case.
When I get home the set of mics with phantom did record thought not correctly. It had a cylindrical sound that others have mentioned on here.
So the next day I run again and same thing happens when the deck gets really hot after an hour+ of running. This day is even hotter then the day before.
I am not at home in AC and running it for over an hour and no problems with deck or those mics. So it seems that heat could affect the deck mostly running with phantom power on.
Sorry to hear that Patrick. I've experienced the same thing. These recorders do not like the heat when phantom power is on.
I've only been running two channels of phantom power with mine lately and I have not experienced any issues so far this summer.
If you figure out a fix, let us know. I've considered using a 12v computer fan in my bag. I might actually try that out on Friday, as I have an outside show to record then.
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Yes, overheating is a known issue with the DR-680 and you've described the exact symptoms me and others have experienced. I know that having to run inside a garbage bag is unavoidable in the rain, but this deck must have air circulation on a hot day. I would definitely recommend not running the 680 in it's case and make sure the lowe bag has some ventilation. If it's a really hot day, I'm not sure this problem is avoidable even with good air circulation.
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Hi there!
yeah heat and electronics (any electronics) is bad. Running in blazing summer heat is a problem I've also faced for a while and I have something that works so I'll pass it on.
The exact configuration varies with what I'm doing (rolling road cases, small two-channel taper rig), but the principles are the same.
I run with a v3 which of course sheds heat through its aluminum case acting as a heat sink, thus doubling up on the heating up the situation.
My solution is to place the v3 above the deck so its heat leaves the bag without heating the deck. Simple idea, helps a lot.
Then make sure that there is room for air to flow vertically so the heat can dissipate. (cooler air in the bottom, hot air out the top)
The big one I really got working well this year is to use a reflective emergency blanket to keep the sun off the bag.
(Not a loud and krinkly one, but one that's silent and more tarp-like, still cheap!)
Set it up so it still allows vertical air movement and it makes a fantastic difference in keeping the heat off the gear.
For the first time my deck ran cool to the touch in blazing heat..
(even a silver umbrella would work well for this I think.)
Highly recommended and I don't leave home without it. Plus it'll keep rain off in a pinch.
-Cheers!
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Already said I tried the homegrown header repair function which is what you are linking too
Let me rephrase it. Any of you guys with 680's that have had file saving problems ever find any solutions that gave consistent results recovering lost files on the 680? PLEASE don't just cite things that might work or that worked for something else. This is not something I am new to and I have owned the 680 since it was released. I have been involved with MANY MANY MANY discussions here on TS, and with Tascam about the problem.
Sorry didn't see any mention of the wave header repair utility so thought I'd post the link for it.
But no I don't have any knowledge of 680's with corrupted wav files, but do have experience with corrupted wav files from machines like the R4 and iRiver etc.
Still going through all of the 680 threads so you'll have to bear with me still.
:-)
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Let me rephrase it. Any of you guys with 680's that have had file saving problems ever find any solutions that gave consistent results recovering lost files on the 680? PLEASE don't just cite things that might work or that worked for something else. This is not something I am new to and I have owned the 680 since it was released. I have been involved with MANY MANY MANY discussions here on TS, and with Tascam about the problem.
I kind of hinted at this above, but...what are you doing when this is happening? Is it happening a lot? Are you losing power, or is the unit just freezing up?
This time there were no power issues or freezeing up or any of the other operator errors that I have done in the past. I have owned two of these decks for over two years and I am aware of all the little quirks that the deck has. SO these questions are akin to asking what happened. It don't really matter what happened. The question is do you know of a way to recover the files. I know I sound a little snarky but it is all the same shit that factory reps ask or others ask. At this point I don't give a shit what caused it. Why? Because I have been running this deck along time and know what it can and can't do. I am not looking for a way to figure that out. It's like someone telling me how to avoid it in the future. That does not help me now. What I am interested in is recovery.
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Post the file somewhere and let me have a crack at it.
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I still run my M10 as a backup when running my DR680!! Just to be safe.
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Post the file somewhere and let me have a crack at it.
gimmie an email and I'll send them to ya...oh and good luck Chuck. If you do get 'em I am highly interested in how
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Post the file somewhere and let me have a crack at it.
gimmie an email and I'll send them to ya
PM sent
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Post the file somewhere and let me have a crack at it.
gimmie an email and I'll send them to ya
PM sent
ditto
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I still run my M10 as a backup when running my DR680!! Just to be safe.
I have run the 680 in extreme heat a couple of times with no issue (2011 Vibes comes to mind). But I also have been running the D50 backup for every project (regardless of weather) except when the D50 is pulling a second stage at a festival. That will be the case this weekend at vibes but fortunately the weather is not supposed to exceed 83* on any day so will be keeping fingers crossed. . .
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It was about a month ago and I was :drunk: so I don't remember exactly, but I think it was sending the V3 signal.
That is correct and we have run that way before, but when running the V3 digi in we couldn't seem to get the SBD feed to the Digi output. It worked fine when using analog pres.
Did you get NOTHING or the V3 input on the Digi out?
I'm not positive but I think the digi out will send a stereo mix of channels 1-6 OR simply pass on the digi in.
Ok, finally got around to checking. The digital output is the same as the headphone output. That is, either "MIX MON" or "DIN MON". So do this:
- SBD -> Tascam analog 1/2 IN
- mics -> preamp/ADC -> Tascam digital IN
- set to MIX MON
- pan tracks 1/2 10 left/10 right, levels set to 100/100 and mix to 100
SBD will appear on the digital OUT. The caveat is you won't be able to monitor your mics, either via headphones or via the level meter (it will show the level for the mix track, not DIN).
If you set it to DIN MON, you'd just get your mics on headphones, the level meter and the digital OUT.
Odd quirk: with my ART DI/O, sending a signal to the 680 for recording worked perfectly. But if I sent the digital OUT of the 680 back to the DI/O for monitoring, I was getting a bunch of noise, like the clock sync was somehow being affected. It affected both the analog output on the DI/O *and* the actual recording on the 680. Must be a quirk of the DI/O, but annoying nevertheless.
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The digital output is the same as the headphone output. That is, either "MIX MON" or "DIN MON". So do this:
- SBD -> Tascam analog 1/2 IN
- mics -> preamp/ADC -> Tascam digital IN
- set to MIX MON
- pan tracks 1/2 10 left/10 right, levels set to 100/100 and mix to 100
SBD will appear on the digital OUT. The caveat is you won't be able to monitor your mics, either via headphones or via the level meter (it will show the level for the mix track, not DIN).
If you set it to DIN MON, you'd just get your mics on headphones, the level meter and the digital OUT.
I've been offline for a week and a half or so and missed the intitial discussion, but can confirm that the above is correct.
I'm not certain, but you may be able to monitor levels of the digital input (in this case the microphone feed, post external ADC), by setting the digital input to use ch 5&6 and reading the meter for those channels. Doing that should also allow you to record both the mic pair and SBD pair seperately (along with the stereo mix as well if you like).
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Thanks for the help guys!! We will give this a shot on the next outing. Gutbucket you are always a huge help with 680 knowledge.
The digital output is the same as the headphone output. That is, either "MIX MON" or "DIN MON". So do this:
- SBD -> Tascam analog 1/2 IN
- mics -> preamp/ADC -> Tascam digital IN
- set to MIX MON
- pan tracks 1/2 10 left/10 right, levels set to 100/100 and mix to 100
SBD will appear on the digital OUT. The caveat is you won't be able to monitor your mics, either via headphones or via the level meter (it will show the level for the mix track, not DIN).
If you set it to DIN MON, you'd just get your mics on headphones, the level meter and the digital OUT.
I've been offline for a week and a half or so and missed the intitial discussion, but can confirm that the above is correct.
I'm not certain, but you may be able to monitor levels of the digital input (in this case the microphone feed, post external ADC), by setting the digital input to use ch 5&6 and reading the meter for those channels. Doing that should also allow you to record both the mic pair and SBD pair seperately (along with the stereo mix as well if you like).
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Anyone wanting to buy this unit?
Guitar Center has it for $514 with a one year warranty, free shipping.
Smokes B&H
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Anyone wanting to buy this unit?
Guitar Center has it for $514 with a one year warranty, free shipping.
Smokes B&H
Currently $469.44 at Sonic Sense. Free shipping and an additional year warranty.
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FYI, here's the link:
http://www.sonicsense.com/tascam-dr-680-multi-channel-portable-recorder.html
Shows up as $599.99 if you aren't logged in, but the "member" price (you just have to sign up/sign in) is currently $469.44.
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I cancelled the Guitar Center Order and ordered from Sonic Sense. That is the lowest price on this I've seen in quite a while.
Porta Brace has a great new custom fitted case for the DR680, but is currently out of stock.
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I ordered mine from Sonic Sense via Amazon yesterday. They had the recorder itself for $549 or a bundle with the recorder, a pair of headphones, and four XLR cables for $499.
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Question: I bought the DR-680 to do sbd/aud matrix whenever possible, but on occasion I'll still be doing two-channel AUDs.
Should I still run V2>DR-680 when I'm only doing 2 channels, or stick with the V2>M10 in that case? Is it worth the extra weight if I know I won't get a board feed?
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Question: I bought the DR-680 to do sbd/aud matrix whenever possible, but on occasion I'll still be doing two-channel AUDs.
Should I still run V2>DR-680 when I'm only doing 2 channels, or stick with the V2>M10 in that case? Is it worth the extra weight if I know I won't get a board feed?
The DR-680 is not a heavy unit. My guess is that the A>D is better in the 680 also, but I can't confirm.
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Question: I bought the DR-680 to do sbd/aud matrix whenever possible, but on occasion I'll still be doing two-channel AUDs.
Should I still run V2>DR-680 when I'm only doing 2 channels, or stick with the V2>M10 in that case? Is it worth the extra weight if I know I won't get a board feed?
Have you compared the preamps in the V2 to the 680? Because you wouldn't even need to use the V2 with the 680 if you felt the quality was similar.
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Question: I bought the DR-680 to do sbd/aud matrix whenever possible, but on occasion I'll still be doing two-channel AUDs.
Should I still run V2>DR-680 when I'm only doing 2 channels, or stick with the V2>M10 in that case? Is it worth the extra weight if I know I won't get a board feed?
Have you compared the preamps in the V2 to the 680? Because you wouldn't even need to use the V2 with the 680 if you felt the quality was similar.
I have not, I won't actually have the 680 in my hands for a few more days. I'm just thinking about it.
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Yeah DR680 is not heavy at all but does take up more space in the bag. I like the V2 preamp better than in the DR680. Not sure about ADC and not sure I have ever been able to tell the difference (DR680 vs DR100mkii). Use the M10 as backup?
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Question: I bought the DR-680 to do sbd/aud matrix whenever possible, but on occasion I'll still be doing two-channel AUDs.
Should I still run V2>DR-680 when I'm only doing 2 channels, or stick with the V2>M10 in that case? Is it worth the extra weight if I know I won't get a board feed?
Have you compared the preamps in the V2 to the 680? Because you wouldn't even need to use the V2 with the 680 if you felt the quality was similar.
I have not, I won't actually have the 680 in my hands for a few more days. I'm just thinking about it.
Oops, yes, I should have connected the dots.
A comparison of the preamps would probably be the first thing I would do, as I would think just using the 680 would be less of a hassle than using the V2 with either of the units.
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The Tascam DR 680 channels 7 & 8 are not per se recordable, as they are mix down tracks. I was told I could go digital in to use those two tracks.
That said, I need a small, inexpensive portable ADC for those two channels for the Tascam DR 680
Suggestions?
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The Tascam DR 680 channels 7 & 8 are not per se recordable, as they are mix down tracks. I was told I could go digital in to use those two tracks.
That said, I need a small, inexpensive portable ADC for those two channels for the Tascam DR 680
Suggestions?
I have a Busman UA-5 I use just for that purpose.
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The Tascam DR 680 channels 7 & 8 are not per se recordable, as they are mix down tracks. I was told I could go digital in to use those two tracks.
That said, I need a small, inexpensive portable ADC for those two channels for the Tascam DR 680
Suggestions?
I have a Busman UA-5 I use just for that purpose.
A UA5 is the way to go (small & inexpensive).
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Hi all,
Was wondering anyone who experienced the oscillation problem on the Dr680, could you comment on a few items:
1) Was the problem always present after it first started? Or was it intermittent?
2) Was it on 6 channels or individual channels?
3) Did it ever go away?
4) I read all the pages on the DR680 and if I remember correctly some had problems from day one and other had heat problems? Is that correct?
Thanks in advance.
Patrick
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I've run an M10 for a while and recently started running a 680 too. When running the 680 I usually run my M10 as a back up and I can't tell a difference in the adc. I will usually will run the M10 if only doing 2 channels. I prefer to travel light if I can.
Question: I bought the DR-680 to do sbd/aud matrix whenever possible, but on occasion I'll still be doing two-channel AUDs.
Should I still run V2>DR-680 when I'm only doing 2 channels, or stick with the V2>M10 in that case? Is it worth the extra weight if I know I won't get a board feed?
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1) Was the problem always present after it first started? Or was it intermittent?
Intermittent for me. Just in hot weather and only outside.
2) Was it on 6 channels or individual channels?
Only on phantom power channels. Also, not on all phantom power channels. It has happened on my AKG C-480 channels and not on my Naiant MSH-10's during the same show. Funny thing is... The Naiants draw more current than the AKGs.
3) Did it ever go away?
For me it has gone away for about a year and a half. But I have been leaving the area around the bottom right part of the recorder (where the power is plugged in) wide open to the air. I even have a 5v computer fan I carry with me to blow air on it if gets hot. I haven't actually had to use the fan yet though. I constantly touch that area checking for excessive heat while recording.
4) I read all the pages on the DR680 and if I remember correctly some had problems from day one and other had heat problems? Is that correct?
I over voltaged my first one and killed it. The second one is still working fine.
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The Tascam DR 680 channels 7 & 8 are not per se recordable, as they are mix down tracks. I was told I could go digital in to use those two tracks.
That said, I need a small, inexpensive portable ADC for those two channels for the Tascam DR 680
Suggestions?
A mini-me goes for about $400 these days.
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The Tascam DR 680 channels 7 & 8 are not per se recordable, as they are mix down tracks. I was told I could go digital in to use those two tracks.
That said, I need a small, inexpensive portable ADC for those two channels for the Tascam DR 680
Suggestions?
A mini-me goes for about $400 these days.
Wow. I really like the Mini-Me I had.
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Patrick,
I had the intermittant gain pumping problem once or twice. Same answers basicaly as Chuck, except I didn't blow mine up. :P
Intermittent, presumably heat related, phantom power on (but I was only running phantom channels I in that (or those) cases I think). Hasn't happend again but I've tried to keep it cooler.
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I was also told that the old Sony SBM-1 is used extensively to make the 7th and 8th channels of the Tascam DR 680 functional.
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Thanks gutbucket and chuck for the answers. Went and bought a new DR680 from SS for 488 includes tax. Arrived yesterday...
That is just over 50 dollars a channel...very inexpensive for that many inputs...
Now I have 2. Might use it for 14 channels or just as a backup.
One thing is I realize I know this deck really well and would be a learning curve on another one.
Thanks again all.
Patrick
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hi
im looking to maybe get one of these in the future, and have a question. does this unit save as one track with all channels on it or multi tracks on own recordings. and can you save it as one if you want?
thanks guys
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hi
im looking to maybe get one of these in the future, and have a question. does this unit save as one track with all channels on it or multi tracks on own recordings. and can you save it as one if you want?
thanks guys
It records seperate tracks (stereo or mono) to a project folder.
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I do not own a 680 yet, but I am considering it as I'm finding myself in situations where I have SBD access more and more often.
Before I sift through all 5 threads/user manual I have a very simple question:
Next weekend I have a local festy where me and my buddy, who just picked up a 680, have access to both the stagebox/snake and SBD. We plan to run his 414's omni on stage into the snake>+SBD>680. I was planning on running my schoeps>722 back by the board where the 680 will be and giving him my SPDIF out of the 722.
Neither of us are at all familiar with the 680 yet. Is the 680 capable of accepting 4 analog sources+my SPDIF feed? I skimmed through the manual and think it is possible. But for some reason he thinks it is not although I'm not sure why he thinks that.
Any thoughts?
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Tim...yes you can record 4 microphones and accept a SPDIF input on the DR680....that said I've never done it...I only have an old AD20 Deneke that will do SPDIF out and I've never wanted to drop down to 16bit or ran out of 6 channels of analog input or mic preamps the DR-680 provides.
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I do not own a 680 yet, but I am considering it as I'm finding myself in situations where I have SBD access more and more often.
Before I sift through all 5 threads/user manual I have a very simple question:
Next weekend I have a local festy where me and my buddy, who just picked up a 680, have access to both the stagebox/snake and SBD. We plan to run his 414's omni on stage into the snake>+SBD>680. I was planning on running my schoeps>722 back by the board where the 680 will be and giving him my SPDIF out of the 722.
Neither of us are at all familiar with the 680 yet. Is the 680 capable of accepting 4 analog sources+my SPDIF feed? I skimmed through the manual and think it is possible. But for some reason he thinks it is not although I'm not sure why he thinks that.
Any thoughts?
Not only is it possible, you can do *6* analog sources (mic or line) plus digital in.
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Lupac is correct...6 analog and 2 digital SPDIF channel inputs are the ONLY way to use this as a 8 channel recorder...that it is sold as...
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Tim...yes you can record 4 microphones and accept a SPDIF input on the DR680....that said I've never done it...I only have an old AD20 Deneke that will do SPDIF out and I've never wanted to drop down to 16bit or ran out of 6 channels of analog input or mic preamps the DR-680 provides.
Thanks, Hypno. So basically as long as we match bit/sample rate both analog stereo pairs+my SPDIF they will all sync to the same clock? Almost seems too easy. :laugh:
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Thanks, Hypno. So basically as long as we match bit/sample rate both analog stereo pairs+my SPDIF they will all sync to the same clock? Almost seems too easy. :laugh:
Yes, the 680 will use the clock of whatever is connected to the digital in. You should set the clock on your ADC to the same rate as what you're recording on the 680, although I guess I've never tried a different rate to see what would happen. Presumably either the 680 will automatically use the incoming rate or you'll get an error.
I've never done it, but others have said that you can record the digital input to tracks 5 and 6, which would be preferable to recording on the stereo track.
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Thanks, Hypno. So basically as long as we match bit/sample rate both analog stereo pairs+my SPDIF they will all sync to the same clock? Almost seems too easy. :laugh:
Yes, the 680 will use the clock of whatever is connected to the digital in. You should set the clock on your ADC to the same rate as what you're recording on the 680, although I guess I've never tried a different rate to see what would happen. Presumably either the 680 will automatically use the incoming rate or you'll get an error.
I've never done it, but others have said that you can record the digital input to tracks 5 and 6, which would be preferable to recording on the stereo track.
Cool. We both record @ 24/48 but will add that to the idiot check while setting up. Thanks for the response gents.
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Cool. We both record @ 24/48 but will add that to the idiot check while setting up. Thanks for the response gents.
I would just try a sample run before you even get to the venue. It's honestly pretty easy, but arguably better to get everything figured out and ready ahead of time so you're not fumbling when it's crunch time.
If all goes to plan, I'll be doing a full 8-track recording in a week and a half. Should be interesting.
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hey does anyone have any comps of the busman mod vs. a stock unit?
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I would just try a sample run before you even get to the venue.
I agree. I've had my DR-680 for a week and have run several shows, and still getting used to quirks. Luckily I've been taping stuff that's not all that crucial if I screw up, because I have! :facepalm:
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About 3 or 4 songs into a private recording session for an organ trio lastnight I realized the I was not recording the SPIDF input from the V3 but a stereo mix of the other 4 mic inputs into that recorder. Noticed the little MIX indicator next to the stereo track. Do'h! At least that was an extra 'ambient' ORTF pair and not critical to the session.
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My biggest complaint with the 680 is definitely the limitations surrounding the digital input. Offhand:
- The meters for the stereo track mirror what is being monitored aurally. That is, even if you're recording the digital in to the stereo track, if you're listening to a mix of the analog inputs, the meters will show the mix, not the digital input. I'm not sure why it would be necessary to visually monitor the mix when it isn't being recorded.
- While recording, you have to go into the menu to switch between monitoring the mix and the digital input, but during playback it's the STEREO/MULTI button on top. It's too bad the button on top can't be used during recording as well.
- There's no way to play back all 8 tracks at once, even when using a DAC.
I usually don't use the digital input or record on all 8 tracks, but it would still be nice if some of those things had been thought out a bit more.
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My issue last night was one of pilot error. Stopped between songs, corrected it and continued recording before flying into a metaphorical mountain.
My biggest complaint with the 680 is definitely the limitations surrounding the digital input. Offhand:
- The meters for the stereo track mirror what is being monitored aurally. That is, even if you're recording the digital in to the stereo track, if you're listening to a mix of the analog inputs, the meters will show the mix, not the digital input. I'm not sure why it would be necessary to visually monitor the mix when it isn't being recorded.
Well, that can be helpful to confirm that the recorded the stereo mix is not clipping. And I'm not certain, but I think that mix is being output from the digital out (in addition to the headphone jack) even if it isn't being recorded. Since multiple channels are being summed in the mix, the 2-channel mix can clip even though your individual channels are peaking below clipping, and if that is happening the visual stereo channel meter will indicate it, in which case you'd want to reduce either the mix level of the stereo channel or the mix levels of the individual channel levels feeding it (instead of having to lower the individual channel input trims, although that would accomplish the same goal of not clipping the mix).
What I was supprised to find was that there seems to be no way to monitor the digital input through headphones, at least in muti-channel mode with the digital input going to the stereo channel. I agree that capability would be very useful. I would have used that last night, and trying to do that is what made me to realize my pilot error. Might be possible with the digital-in routed to 5/6 or with the machine in stereo recording mode, but I haven't tried that.
- While recording, you have to go into the menu to switch between monitoring the mix and the digital input, but during playback it's the STEREO/MULTI button on top. It's too bad the button on top can't be used during recording as well.
As you are aware, before recording that switch changes between 2-channel stereo mode and multi-channel mode. The only reason I can see to use 2-channel recording mode is if your either want to record at 192kHz or record only the digital input and not any of the analog inputs. But I agree, it would be nice to be able to push that button while recording to switch headphone monitoring between the stereo mix buss and the digital input. It's nice that one can switch back and forth that way on playback without stoping playback or losing the playback position. In contrast, switching between the two simultaneously recorded stereo files during playback on a DR2d reverts back to the begining of the files, which reduces it's usefulness.
- There's no way to play back all 8 tracks at once, even when using a DAC.
Not directly from the machine, which I'd like to do as well. Obviously you can do so once the files are transfered to a computer, which is how most people here will do it. But for that reason it sometimes influences whether I choose to record certain pairs into the analog inputs verses the digital input, just so I can play them back simultaneously with the other anlog channels.
I usually don't use the digital input or record on all 8 tracks, but it would still be nice if some of those things had been thought out a bit more.
It might help to consider that this was not designed as an 8 channel recorder but a 6 channel one with an 'extra' mix-down or digital-input stereo channel. Thinking of it as an 8 channel machine will lead to dissapointment, think of it instead as capable of 6 with the ability to record 8 in limited circumstances.
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Well, that can be helpful to confirm that the recorded the stereo mix is not clipping. And I'm not certain, but I think that mix is being output from the digital out (in addition to the headphone jack) even if it isn't being recorded. Since multiple channels are being summed in the mix, the 2-channel mix can clip even though your individual channels are peaking below clipping, and if that is happening the visual stereo channel meter will indicate it, in which case you'd want to reduce either the mix level of the stereo channel or the mix levels of the individual channel levels feeding it (instead of having to lower the individual channel input trims, although that would accomplish the same goal of not clipping the mix).
My point was when you're *not* recording the mix, which you certainly aren't if you're doing 8-track. I suppose it's reasonable in terms of monitoring the digital out (which as I previously mentioned, gives you whatever is in the headphones), but then again, one would assume you could monitor that on the receiving end.
What I was supprised to find was that there seems to be no way to monitor the digital input through headphones, at least in muti-channel mode with the digital input going to the stereo channel. I agree that capability would be very useful. I would have used that last night, and trying to do that is what made me to realize my pilot error. Might be possible with the digital-in routed to 5/6 or with the machine in stereo recording mode, but I haven't tried that.
You can definitely do this on the stereo track, by going into the menus and selecting the digital input. That's the only way to get the meters to show what's coming in on the digital in as well (if recording to the stereo track).
As you are aware, before recording that switch changes between 2-channel stereo mode and multi-channel mode. The only reason I can see to use 2-channel recording mode is if your either want to record at 192kHz or record only the digital input and not any of the analog inputs. But I agree, it would be nice to be able to push that button while recording to switch headphone monitoring between the stereo mix buss and the digital input. It's nice that one can switch back and forth that way on playback without stoping playback or losing the playback position. In contrast, switching between the two simultaneously recorded stereo files during playback on a DR2d reverts back to the begining of the files, which reduces it's usefulness.
I guess I wasn't even aware of it for recording, just playback. Like I said, the same thing can be accomplished via menu during recording (switching between listening to the mix of 1-6 and the stereo track), but simply being able to hit the button would be a lot easier.
Not directly from the machine, which I'd like to do as well. Obviously you can do so once the files are transfered to a computer, which is how most people here will do it. But for that reason it sometimes influences whether I choose to record certain pairs into the analog inputs verses the digital input, just so I can play them back simultaneously with the other anlog channels.
Right...for instance, for the show coming up that I'm recording, I'm putting the audience mics on 7&8 and the various direct mics on 1-6. That way I can switch between 2 more or less complete sources, as opposed to, say, only having the vocals on 7&8 or something.
But playback of all 8 would be nice for mixing. That is, it would be nice to be able to send everything to an analog mixer right from the 680.
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I'm trying to order a battery cable adapter tip for the 680 from Tekkeon. Can anyone tell me either the needed tip's dimensions or a part number? Thanks
Disregard, I found it.
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Did about 3 hours of 8-track recording on Saturday (DIN fed with an ART DI/O)...no issues. Also, I had kept it in record pause for the better part of the few days prior, and it never went into DIN UNLOCK. So, pretty stable, thankfully.
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Had time to fool around with the 680 last weekend at a local fest.
My taper buddy had AKG 414's sub-cards @ stage-lip>V3>680 analog in on 1+2
Analog SBD>3+4 on his 680
My Schoeps mk4v>kc5>cmc6>722 rig feeding the 680 analog via the tape-out of the 722>680.
The next night we decided to grab the SPDIF digital from my 722. Nothing but issues. Won't sync to the 722 feed. Then it does sync. Then it doesen't. Writing off the 680 as a viable 8+ track feed...
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Odd. It must be particular? Like I said, with the DI/O it was basically locked for days.
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Don't mean to ask a potentially obvious question, but . . . While the 680 is supposed to be able to handle SPDIF or AES and to automatically determine which format it is, have you tried changing the format of the digital output bus on the 722? If it's set to professional, try consumer, or vice-versa. Shouldn't have to do that, and I'm not confident it will work, but I'd definitely try it before writing it off completely.
Had time to fool around with the 680 last weekend at a local fest.
My taper buddy had AKG 414's sub-cards @ stage-lip>V3>680 analog in on 1+2
Analog SBD>3+4 on his 680
My Schoeps mk4v>kc5>cmc6>722 rig feeding the 680 analog via the tape-out of the 722>680.
The next night we decided to grab the SPDIF digital from my 722. Nothing but issues. Won't sync to the 722 feed. Then it does sync. Then it doesen't. Writing off the 680 as a viable 8+ track feed...
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Don't mean to ask a potentially obvious question, but . . . While the 680 is supposed to be able to handle SPDIF or AES and to automatically determine which format it is, have you tried changing the format of the digital output bus on the 722? If it's set to professional, try consumer, or vice-versa. Shouldn't have to do that, and I'm not confident it will work, but I'd definitely try it before writing it off completely.
Had time to fool around with the 680 last weekend at a local fest.
My taper buddy had AKG 414's sub-cards @ stage-lip>V3>680 analog in on 1+2
Analog SBD>3+4 on his 680
My Schoeps mk4v>kc5>cmc6>722 rig feeding the 680 analog via the tape-out of the 722>680.
The next night we decided to grab the SPDIF digital from my 722. Nothing but issues. Won't sync to the 722 feed. Then it does sync. Then it doesen't. Writing off the 680 as a viable 8+ track feed...
Yep, tried both formats.
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I'm having a hard time coming up with a battery cable/adapter tip for using my Tekkeon MP3450 with the DR-680. The closest one that Tekkeon seems to have is PA-L5F (has "C" on the side of it), but it still requires fiddling to get it to lock on to the voltage. A friend is using this one with his DR-680 with no problems, but mine won't reliably connect. Can anyone advise how to get it powered from the MP3450?
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Ted made me a nice power cable with r/a on both sides for the Tekkeon with the DR-680.
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Ted made me a nice power cable with r/a on both sides for the Tekkeon with the DR-680.
I'll PM, what's his user name?
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Tgakidis. You can see what he makes in the Retail section under Gakables. Nice build quality !!!!
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Thanks
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ted makes awesome custom cables.
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Thanks for the props guys ;D
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I think we need a new thread (I am not volunteering), but I also have a favor request:
Would anyone be willing to help with trying to recover some files lost due to power being pulled before I pressed stop? I have no idea when the sound guy pulled my cables, so the recording probably doesn't have anything on it, but I suppose there's a slight chance they forgot until the set was over.
Its Johnny Winter at BB Kings in NY last month. I had SBD + AKG 63s running. My cousin's band opened the night (who I obviously had permission to open tape with a board patch), so I just left everything plugged in and recording. I very much assume they pulled all my cables out at the beginning of set (my gear was setup in the sound booth) , but still I have a foolish hope about these types of things.
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I think we need a new thread (I am not volunteering), but I also have a favor request:
Would anyone be willing to help with trying to recover some files lost due to power being pulled before I pressed stop? I have no idea when the sound guy pulled my cables, so the recording probably doesn't have anything on it, but I suppose there's a slight chance they forgot until the set was over.
Its Johnny Winter at BB Kings in NY last month. I had SBD + AKG 63s running. My cousin's band opened the night (who I obviously had permission to open tape with a board patch), so I just left everything plugged in and recording. I very much assume they pulled all my cables out at the beginning of set (my gear was setup in the sound booth) , but still I have a foolish hope about these types of things.
Good luck. I am at about a 30% success rate over the years. That would be about 10 or 15 tries. I have no good advice or recommendations for recovery, sorry.
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I don't have one but am thinking about getting one if a used one pops up. So I'm wondering when you need to increase levels or adjust them is it possible to adjust them together as stereo tracks. So increase input 1+2 at the same time?
Also when you record multiple tracks at the same time does it make multiple stereo tracks? Or one that has multiple tracks?
And lastly i read the manual it said when doing multi tracks it does 6 tracks. If your doing 4 track can you make it save only the 4 tracks and save the memory of a blank file?
Thanks for the help
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I don't have one but am thinking about getting one if a used one pops up. So I'm wondering when you need to increase levels or adjust them is it possible to adjust them together as stereo tracks. So increase input 1+2 at the same time?
Yes, you can gang adjacent channels for both record levels and mix levels.
Also when you record multiple tracks at the same time does it make multiple stereo tracks? Or one that has multiple tracks?
I don't recall all of the options, but I have it set to record multiple mono tracks. 4-track = 4 mono files.
And lastly i read the manual it said when doing multi tracks it does 6 tracks. If your doing 4 track can you make it save only the 4 tracks and save the memory of a blank file?
Tracks are armed individually*, so you can record as many/few tracks as you want. If you want to record 4 tracks, you'll get 4 mono files.
*1-6 are mono tracks, and then 7-8 is a stereo track.
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You can 'gang' as many adjacent channels as you like for simultaneous adjustment of the recoring level (and also monitor pan and output level), and you can un-gang and re-gang them in different groupings as necessary while recording. So for instance, you can adjust individual levels on each channel, then gang them as pairs and adjust them that way, then gang them all and adjust all channel gains together simultaneously with one knob.
You can record either individual mono files (1,2,3,4,5,6,st) or stereo file pairing adjacent channels (1-2,3-4,5-6,st). The "extra" stereo channel is always written as a stereo file, even if you set the machine to record mono files. It can record either two additional channels via the digital input or a stereo mix of the 6 analog inputs. While in record/pause, you can choose to arm or disarm any combination of channels or pairs of channels within that framework.
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I have never been able to get the ganging feature to work when recording is set to mono channels. Only works (for me) when recording is set to stereo.
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Hmmm. Works fine for me, and I usually have it set to write mono files.
The only hitch I find is simply working the buttons in the correct sequence. The problems I run into usually have to do with trying to see or hunt for the correct channel selections by feel in the dark, and fat fingering the proceedure of holding down the button at the lower end of the range while pressing the one at the higher end of the range, and making sure the range I want doesn't already include another ganged grouping. I sometimes need to fumble around a few times to get the channel grouping I want ganged or un-ganged.
[edit] I noticed recently it gets somewhat weird if you have M/S enabled for a channel pair, even if M/S decoding is only enabled for playback. The channel selction seems to consider that pair unbreakable even if writing individual mono files. I turned off M/S playback decoding and could then once again gang these channels with other adjacent channels in whatever combination I wanted.
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Alright one more question ( for now) does anyone know the power draw of these in mah?im looking to get the naztech battery if I were I get one of these and would like to know how long that's ping to last, and this is with no phantom power on.
Thanks
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Hmmm. Works fine for me, and I usually have it set to write mono files.
The only hitch I find is simply working the buttons in the correct sequence. The problems I run into usually have to do with trying to see or hunt for the correct channel selections by feel in the dark, and fat fingering the proceedure of holding down the button at the lower end of the range while pressing the one at the higher end of the range, and making sure the range I want doesn't already include another ganged grouping. I sometimes need to fumble around a few times to get the channel grouping I want ganged or un-ganged.
[edit] I noticed recently it gets somewhat weird if you have M/S enabled for a channel pair, even if M/S decoding is only enabled for playback. The channel selction seems to consider that pair unbreakable even if writing individual mono files. I turned off M/S playback decoding and could then once again gang these channels with other adjacent channels in whatever combination I wanted.
NO MS for me and I will try again and verify what firmware. But when I have run it 24/48 mono with limiters I could never get it to gang two channels.
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NO MS for me and I will try again and verify what firmware. But when I have run it 24/48 mono with limiters I could never get it to gang two channels.
I run 24/48 mono, but not with the limiters. Shouldn't matter but who knows? Curious if it works for you with the limiters off.
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MOVING..............on to #6
http://taperssection.com/index.php?topic=164963.0