Topic: PCM-D1 vs. PCM-D50

[reverser]

Hi all,

New to the forum.  What an amazing resource.  Good to be in the company of a really experienced bunch.

Here is my dilemma:

At the end of 2005, enamoured with the look and the "easy to get into pro-level recording" impressions I had of the PCM-D1, I took the plunge.  I have used the D1 exclusively with internal mics for several live jazz events (Pat Martino).  The quality has been great on the recorder end.  The D1 is easy to use, records in hi-resolution, has seamless track changes, extremely high build quality etc.  The limiter and bass-roll off are also welcome additions.  The mics, however, have left a little to be desired.  I have seen several posts on this board that say they are of exemplary quality, but I have found the "thinness" that others have described to be present.  They also a bit "metallic" sounding.  I hate that I am stuck in the tight XY as well.  I find it hard to get that "warm" feeling that I have heard in many audience recordings.  The other issue that really peeves me is I have no digi-in options.  That said, the AD797 mic pres and the AD8672 line-in pres are purported to be amazing.  That's part of my question.

Fast forward to now.  After seeing the PCM-D50 and coveting the digi-in and repositionable mics and quite frankly the lack of analog VUs (which, correct me if I'm wrong, seem to be a huge waste of space on the D-1), I could not resist.  I bought a D50 as well.

In test that I performed with a cheap mic ([Sony ECM MS-957] I don't have any pro-level mics yet), recording to the mic-in on both devices from the exact same position with the same audio being looped in the background, I can hear almost no difference in the quality of recording from an external mic.  If there is interest I can post samples comparing the 2 here.  At any rate, in this area (which is ultimately where I want to be, recording from high quality externals), I don't see $1500 dollars worth of difference, if any truly noticeable difference at all.  Quite frankly, the internals are not $1500 dollars better either from my tests.  They are more detailed, but either way, both sound, in my opinion, very "metallic" as mentioned earlier.  So now we have a mic / line-in that is all but equivalent and internal mics that are not as good but certainly passable (any pro would not want to use the internals on either unit methinks).  On top of that, the digi-in is wonderful to have for bit bucket functionality, and the more compact size makes it every more attractive.

I am now faced with a decision.  I can return the D50 for a full refund if I determine I don't need it, but it seems that I loose alot by doing that.  Obviously I am beyond returning the D1 so I would have to sell used and take a huge (probably $500 or more) loss on the damn thing.  I am trying to convince myself that there is a time and place for both, and that I should just keep em rather than lose money on the D1 or lose the features (that I really like) of the D50.  I would really like advice on this matter and how you pros think it would be best handled.  If I sold the D1 I could get the XLR-1 and some C4s to go with the D50.  If I don't I'd have to wait a couple of months before I had that kind of cash to blow.  I really need some help!

Thanks in advance for all advice and insight.  I really do appreciate it.

-reverser

[Belexes]

Sell the D1, keep the D50 and buy yourself some nice external mics. I like my C4's.

This always seems to happen with electronics. You go out and buy the latest/greatest, only to see something better and cheaper be released shortly thereafter. I think it's a big conspiracy.

[Outrageous]

Since I personally own the D50, I'm happy to hear that it is so comparable to the more expensive D1.  If I were in your situation, I think I'd keep both recorders and use one for "back-up" or to record from different locations.  You could run your Sony 957 mic (or other mics in the future) into one and use the built-in mics with the other.  I've been thinking of getting the ECM-MS957 (or newer, more sensitive ECM-PRO957) myself, so I'm hoping it's not as mediocre as you make out.

[Brian Brock]

if you keep both for backup, you can run externals into  D1 digi out to  D50. not bad.

[reverser]

if you keep both for backup, you can run externals into  D1 digi out to  D50. not bad.

Great point.  Good advice.  Keep it coming!  Helping the buyer's remorse slowly trickle away.

[dogmusic]

if you keep both for backup, you can run externals into  D1 digi out to  D50. not bad.

Great point.  Good advice.  Keep it coming!  Helping the buyer's remorse slowly trickle away.

You could also try 4 track recording using the two machines. Since they're both Sony's, the clocks might not be too far off each other.

[mozmoz8]

How do you join the 2 wav files together as a 4 track recording post session? Is there a program that will do it and mix a 4 track to 2 track?

[dogmusic]

How do you join the 2 wav files together as a 4 track recording post session? Is there a program that will do it and mix a 4 track to 2 track?

Just load them into any multi-track DAW program, like Cubase or Logic, as two stereo tracks, and line them up. If circumstances allow during the recording session, you could have a "slate" at the beginning (a snare-hit, finger-snap, hand-clap) to make it easier to set the beginning.

Then just mix-down to a stereo master as you would any 4 tracks.

The big question is how much will they drift -- although I believe there are compensation tools in the software.