Topic: Best recorder for Soundboards? (adjustable Line In, good ADC)

[Diamond_D]

For most of the places and bands I tape, I'm able to get soundboard access. But I'd like to be un-tethered at the soundboard, i.e. I'd prefer not to do on-the-fly matrixing with my UA-5, and even if I had the funds for a 4 track recorder, I'm still not sure I'd want to be running cables between the sweet spot or stage and the board everytime. And if I'm going to be untethered, I'd like to get a 1-box solution.

So I'm looking for the feedback on a portable recorder with good Line In control and good ADC... ones that seem in contention off the top of my head are the Korg MR-1, R09, or possibly another H120. I used a buddy's Microtracker II for this exact purpose the other day, and I didn't like the feel of it, and I was clipping all night and don't want to put attenuators in front of it every time.

How do the Marantz 620/660/670 handle Line in (can I adjust the Line In levels, to go below unity gain if needed?). I know their sound gets a lot of praise here.

Thanks in advance, it's been a lot of fun getting back into taping recently!

[bgalizio]

I really like my R-09HR for SBD patching.

The Korg MR-1 sounds great, but I don't think it can take a hot SBD signal.

[kirk97132]

First off let me preface this with the fact that while I do a lot of 4 track recording most of it is a bar type of situation and huge clubs.   My experiences, and of course YMMV, are that if you show up a little early, appear  halfway knowledgeable and ARE POLITE, you can get the board op to give you two channels in the snake in order to run your mics on stage and run all your gear at the board.  I have found for matrix recording that this yields fantastic results.   Most clubs I go to I wouldn't want to even try recording from the "sweet spot" due to heavy traffic and crowd noise.  I'd much rather have a recording of what the band is hearing on stage as opposed to what you hear in the house to mix with the SBD feed.  With that in mind the Edirol R-44 just kicks ass. 4 tracks of synced recording makes the work in post that much easier.   If you are looking to run two recorders I'll leave that up to the guys who know more about that stuff to offer advice.  Of course you would know what your particular situation demands, Kirk

[landshark]

Hi Diamond D -

I use my first gen MicroTrack for board feeds and it works well.  Just make sure your settings are right (i.e., Low setting, gain turned to zero) and use the 1/4" TRS input, 27db boost off, etc..  Basically, try to take all amplification by the MicroTrack out of the equation and just capture the feed.  It works well for me and I have'nt had clipping problems.

I also have an MR-1, and while the sound is great, you might struggle to get it to work without clipping the input stage.  The two 1/8" inputs are rated at +6 dBv, which should work for most pro-sumer line outs, but you need a balanced line out to get that level.  If you can't get a balanced 1/4" TRS (or XLR) to 1/8" TRS cable, and also have it be a balanced signal from the board, you're going to crush the input stage since its limit for unbalanced signal is much, much lower.  I like my MR1, but the input stage is something of a lightweight in its ability to handle a lukewarm (let alone hot) feed.  Add to it the internal battery is good for 2hrs MAX, there's probably better solutions out there.

I've also had luck using my Sony D8 to get the SBD feed since the input stage is much beefier, but xfering the take from tape to computer in this digital age is a pain...

Good luck!

Mike

[Diamond_D]

Thanks for the replies so far guys.

Most clubs I go to I wouldn't want to even try recording from the "sweet spot" due to heavy traffic and crowd noise.  I'd much rather have a recording of what the band is hearing on stage as opposed to what you hear in the house to mix with the SBD feed.  With that in mind the Edirol R-44 just kicks ass.

You're right, I should have said "acceptable spot" instead of sweet spot. I'm definitely interested in trying out some onstage recordings (+SBD matrix), but almost everything I tape is rock with vocals on tiny stages and honestly I'm just not entirely comfortable having my mics be in the way there.

As far as the R-44, that would be ideal, but at least one of the little clubs I go to, the good taping spot is across the walkway/standing area from the soundboard, so really not wanting to run cables through that. Someday it'd be great to have the R-44 for whenever it's feasible, and a 2nd recorder for when it's not. But right now I think a more inexpensive solution would be fine.