I received an email from Deity earlier this week, sort-of-announcing their 'worst kept secret': The PR-4 recorder.
Well, I couldn't find much details, apart from some weird short video on Instagram from a guy called whoismatt, and a mention on reddit based on this video:
https://www.reddit.com/r/fieldrecording/comments/1nde23l/specs_on_the_deity_pr4_have_been_leaked_whats/ (https://www.reddit.com/r/fieldrecording/comments/1nde23l/specs_on_the_deity_pr4_have_been_leaked_whats/)
Does anybody here knows more about this? I mean, if it's really their worst kept secret...
until someone has received one in retail packaging, I wouldn't put any faith in any information. The PR2 turned out to be a lot less impressive when it came out than when it was announced.
Is it a 32-bit 4 track version of the PR-2 ... that reverts to 24-bit when recording more than one track?
(Yes I'm still angry)
Quote from: grawk on September 11, 2025, 08:06:56 AM
until someone has received one in retail packaging, I wouldn't put any faith in any information. The PR2 turned out to be a lot less impressive when it came out than when it was announced.
Concur
Appears to be a F3 / FR-AV2 copy that's overly late to market
Quote from: Gutbucket on September 11, 2025, 10:46:29 AM
Appears to be a F3 / FR-AV2 copy that's overly late to market
That is my impression too, although I wonder if they'll be able to put in some unique and relevant selling point. Who knows they'll throw in analog gain control ;D.
Quote from: TheJez on September 11, 2025, 12:49:34 PM
That is my impression too, although I wonder if they'll be able to put in some unique and relevant selling point. Who knows they'll throw in analog gain control ;D.
Looks like it has that from the pictures.
Came across this IG-reel today: https://www.instagram.com/reel/DMiivstR87W/ (https://www.instagram.com/reel/DMiivstR87W/)
that makes me a lot less interested, unless somehow they do something better than the tascam
Quote from: Pieteker on September 11, 2025, 02:26:46 PM
Came across this IG-reel today: https://www.instagram.com/reel/DMiivstR87W/ (https://www.instagram.com/reel/DMiivstR87W/)
Yeah, that was the weird video I meant in my first post. If that is how they want to announce this thing to the world, it isn't a good sign...
Sony NPF batteries rather than AAs - is that a plus for anyone? I suppose it's not made for the likes of this group.
Those are great for some devices. But a 2 channel recorder? That's insanity
There is also a "PR-6" on the way. Conventional design like MixPre 6/Zoom F8.
Both PR-4 and 6 are on the Deity website
https://deitymic.com/recorders/
Quote2× XLR (Mic, +48V, Line, AES3, AES42)
Stereo 3.5 mm TRS
there's the killer feature. AES3 input. I'm probably in.
Quote from: Niels on September 12, 2025, 02:42:39 PM
There is also a "PR-6" on the way. Conventional design like MixPre 6/Zoom F8.
Both PR-4 and 6 are on the Deity website
https://deitymic.com/recorders/
I love their app
I like the pr-2 for 007
if the meters where better it would be killer. If the meters suck on the others I wouldn't even consider them as I did the pr-2 for 007 as the primary feature but the others are bigger and have others brands the same size with good meters
Quote from: Niels on September 12, 2025, 02:42:39 PM
There is also a "PR-6" on the way. Conventional design like MixPre 6/Zoom F8.
Both PR-4 and 6 are on the Deity website
https://deitymic.com/recorders/
AES inputs and redundant recording on the PR-6.
192khz sample rate and physical gain controls are appealing as are its screen orientation and powering. If its price is closer to an FR-AV2 than a MixPre3 I'll take a chance on it.
Quote from: adrianb on September 11, 2025, 08:51:47 AM
Is it a 32-bit 4 track version of the PR-2 ... that reverts to 24-bit when recording more than one track?
(Yes I'm still angry)
This.
It looks pretty fugly to boot and with the various ports might be a bigger pain to walk in. And the NPF550 battery will lend some weight and bulk to it. Definitely late to the party and wondering if it's doing general loudness vs peak loudness as well. That's one of the things I'll never understand about Deity.
The PR-6 looks interesting!
Post regarding the PR-4 from someone who saw it at a tradeshow in Amsterdam:
https://old.reddit.com/r/LocationSound/comments/1nfxl0u/details_on_the_deity_pr4_and_pr6_from_the_ibc2025/
And another thread: https://old.reddit.com/r/LocationSound/comments/1nfaoes/new_audio_recorders_from_deity/
Newsshooter have an interview.
https://www.newsshooter.com/2025/09/13/deity-introduces-the-pr-4-and-prototype-pr-6-recorders/
10 hours on internal NP-F550.
64GB internal storage / 512GB SD card
Automix!
Price: Impressively affordable price" they will not let us down, Deity says.
How do the Deity preamps compare to their competition?
Quote from: papabliss on September 13, 2025, 03:45:21 PM
How do the Deity preamps compare to their competition?
That's the million (billion?) dollar question. Until we have these measurements as well as real world testing/usage, it's all moot.
Quote from: jbell on September 13, 2025, 08:48:58 AM
The PR-6 looks interesting!
what would the 9/10 tracks be?
1-6 individual
7/8 stereo mix of individual
9/10 ?
Quote from: willndmb on September 13, 2025, 05:57:00 PM
Quote from: jbell on September 13, 2025, 08:48:58 AM
The PR-6 looks interesting!
what would the 9/10 tracks be?
1-6 individual
7/8 stereo mix of individual
9/10 ?
7/8 24-bit mixdown?
9/10 32-bit mixdown?
Quote from: papabliss on September 13, 2025, 03:45:21 PM
How do the Deity preamps compare to their competition?
Look at the PR-2 thread - that is the only current reference.
My takeaway was that they are fine, but noisy at quiet sound levels.
Deity probably need to up their preamp game if they hope to compete with Tascam, Zoom F or Sound Devices in the prosumer location-sound segment.
I'm guessing mix track and digital tracks!
Quote from: justme on September 13, 2025, 07:14:25 PM
Quote from: willndmb on September 13, 2025, 05:57:00 PM
Quote from: jbell on September 13, 2025, 08:48:58 AM
The PR-6 looks interesting!
what would the 9/10 tracks be?
1-6 individual
7/8 stereo mix of individual
9/10 ?
7/8 24-bit mixdown?
9/10 32-bit mixdown?
At this point, I don't trust any of their "before production" specs or marketing. The PR2 was a greatly diminished device by the time it came to market.
Quote from: grawk on September 15, 2025, 08:50:18 AM
At this point, I don't trust any of their "before production" specs or marketing. The PR2 was a greatly diminished device by the time it came to market.
The 32-bit stereo issue with the PR2 was either an implementation or (more likely) a patent issue; notice how none of Zoom/Tascam/etc offer 32 bit stereo on their pocket-sized, XLR-less recorders (which, quite frankly, is where I need it). I wouldn't expect an issue on a larger recorder, again, given everyone else already does have it (though, that's not saying anything of the AES, of course).
I guess we'll see. I held off buying other things for a long time waiting for the pr2. This time, I'm waiting to see the product before it becomes an option in my mind.
I would love a good aes recorder option.
Quote from: grawk on September 15, 2025, 03:04:17 PM
I guess we'll see. I held off buying other things for a long time waiting for the pr2. This time, I'm waiting to see the product before it becomes an option in my mind.
I would love a good aes recorder option.
100% agree with the sentiment of disappointment when it came to the release of the PR-2 and will take any of their new product specs with a few grains of salt until it appears.
Quote from: BonoBeats on September 15, 2025, 03:01:40 PM
The 32-bit stereo issue with the PR2 was either an implementation or (more likely) a patent issue; notice how none of Zoom/Tascam/etc offer 32 bit stereo on their pocket-sized, XLR-less recorders (which, quite frankly, is where I need it).
This is most likely a board space issue on the smaller recorders, but could also be a budget thing. You need two times the amount of ADCs for 32 bit float when compared to 24 bits. Plus the supporting components like capacitors and resistors. The PR2 board is already pretty crammed.
Quote from: Sebastian on September 16, 2025, 05:30:59 AM
Quote from: BonoBeats on September 15, 2025, 03:01:40 PM
The 32-bit stereo issue with the PR2 was either an implementation or (more likely) a patent issue; notice how none of Zoom/Tascam/etc offer 32 bit stereo on their pocket-sized, XLR-less recorders (which, quite frankly, is where I need it).
This is most likely a board space issue on the smaller recorders, but could also be a budget thing. You need two times the amount of ADCs for 32 bit float when compared to 24 bits. Plus the supporting components like capacitors and resistors. The PR2 board is already pretty crammed.
Power consumption & heat could also be a challenge in such small devices.
Quote from: BonoBeats on September 15, 2025, 03:01:40 PM
Quote from: grawk on September 15, 2025, 08:50:18 AM
At this point, I don't trust any of their "before production" specs or marketing. The PR2 was a greatly diminished device by the time it came to market.
The 32-bit stereo issue with the PR2 was either an implementation or (more likely) a patent issue; notice how none of Zoom/Tascam/etc offer 32 bit stereo on their pocket-sized, XLR-less recorders (which, quite frankly, is where I need it). I wouldn't expect an issue on a larger recorder, again, given everyone else already does have it (though, that's not saying anything of the AES, of course).
Sorry to be the "actually" guy, but all of Zoom's recent pocket-sized recorders without XLRs (as well as those that do) offer 32-bit float recording:
https://zoomcorp.com/en/us/news/handy-recorder-comparison/
As do the new Tascam DR-05X and DR-07XP:
https://tascam.com/us/tag/90273
I may be in the minority here, but I find Sony NP-F / L-mount battery powering a very attractive feature. My Zoom F6 runs 6 condenser mics for a very long time with a 6800 mAh battery, and is one of the best things about that unit.
As others have stated, the big unknown about the PR-4 and PR-6 is preamp quality.
Zoom's F-series preamps and Tascam's higher-end units offer performance plenty good enough for the prosumer market. If you need higher quality in a field recorder, you go to Sound Devices or the other serious pro brands.
I notice discussions and arguments in the Location sound community (Deity's primary customer group) and elsewhere that quiet preamps are considerably less relevant than they used to be.
Traditionally, the location sound deliverables to the post processing crew have gone through quite a bit of cleanup & balancing, and any small improvements in the location sound end would generate large benefits the post process.
With new AI assisted tools it is apparently much easier and faster to process sounds/dialogue, and variations in noise levels is now of little importance. This can also be applied to fieldrecordists sound libraries etc.
It is possible that the preamp quality may not be the deciding factor for the success of the new Deity products.
Quote from: Niels on September 18, 2025, 07:51:13 AM
I notice discussions and arguments in the Location sound community (Deity's primary customer group) and elsewhere that quiet preamps are considerably less relevant than they used to be.
Traditionally, the location sound deliverables to the post processing crew have gone through quite a bit of cleanup & balancing, and any small improvements in the location sound end would generate large benefits the post process.
With new AI assisted tools it is apparently much easier and faster to process sounds/dialogue, and variations in noise levels is now of little importance. This can also be applied to fieldrecordists sound libraries etc.
It is possible that the preamp quality may not be the deciding factor for the success of the new Deity products.
That's not surprising to hear, if a little disappointing because "good enough" becomes the goal in this case. For what I do, preamp quality is top priority.
Quote from: Niels on September 18, 2025, 07:51:13 AM
I notice discussions and arguments in the Location sound community (Deity's primary customer group) and elsewhere that quiet preamps are considerably less relevant than they used to be.
Traditionally, the location sound deliverables to the post processing crew have gone through quite a bit of cleanup & balancing, and any small improvements in the location sound end would generate large benefits the post process.
With new AI assisted tools it is apparently much easier and faster to process sounds/dialogue, and variations in noise levels is now of little importance. This can also be applied to fieldrecordists sound libraries etc.
It is possible that the preamp quality may not be the deciding factor for the success of the new Deity products.
Can someone decipher this for a simple lay person like myself? At face value it sounds highly dubious, but what do I know?
Quote from: voltronic on September 17, 2025, 07:26:21 PM
Quote from: BonoBeats on September 15, 2025, 03:01:40 PM
Quote from: grawk on September 15, 2025, 08:50:18 AM
At this point, I don't trust any of their "before production" specs or marketing. The PR2 was a greatly diminished device by the time it came to market.
The 32-bit stereo issue with the PR2 was either an implementation or (more likely) a patent issue; notice how none of Zoom/Tascam/etc offer 32 bit stereo on their pocket-sized, XLR-less recorders (which, quite frankly, is where I need it). I wouldn't expect an issue on a larger recorder, again, given everyone else already does have it (though, that's not saying anything of the AES, of course).
Sorry to be the "actually" guy, but all of Zoom's recent pocket-sized recorders without XLRs (as well as those that do) offer 32-bit float recording:
https://zoomcorp.com/en/us/news/handy-recorder-comparison/
As do the new Tascam DR-05X and DR-07XP:
https://tascam.com/us/tag/90273
Let me requalify that:
Similarly sized stealth type micro recorders such as the Zoom F2, Tascam DR-10L, and Tentacle Track E, which offer 32 bit, but only record in mono.Older recorders, of course; but, I would think that if there weren't an issue implementing 32 bit stereo in recorders of that size, we'd have a 2.0 version of at least one of them by now.
Quote from: unidentified on September 19, 2025, 07:53:16 PM
Quote from: Niels on September 18, 2025, 07:51:13 AM
I notice discussions and arguments in the Location sound community (Deity's primary customer group) and elsewhere that quiet preamps are considerably less relevant than they used to be.
Traditionally, the location sound deliverables to the post processing crew have gone through quite a bit of cleanup & balancing, and any small improvements in the location sound end would generate large benefits the post process.
With new AI assisted tools it is apparently much easier and faster to process sounds/dialogue, and variations in noise levels is now of little importance. This can also be applied to fieldrecordists sound libraries etc.
It is possible that the preamp quality may not be the deciding factor for the success of the new Deity products.
Can someone decipher this for a simple lay person like myself? At face value it sounds highly dubious, but what do I know?
My interpretation was, AI has made post production easier so even if the Deity has preamps with a higher noise level it might not deter people from purchasing it because it could be corrected/improved in post production.
To me this sounds more like the Location sound community (Deity's primary customer group) trying to rationalize the product having a lower quality preamp compared to the competition.
Thanks Papabliss, I concur.
Well, just checked out the Diety website. The PR-4 looks cool. Seems to have several upgraded features from comperable zoom and tascam models. Time will tell if it all comes to fruition.
Quote from: papabliss on September 20, 2025, 05:36:29 PM
Quote from: unidentified on September 19, 2025, 07:53:16 PM
Quote from: Niels on September 18, 2025, 07:51:13 AM
I notice discussions and arguments in the Location sound community (Deity's primary customer group) and elsewhere that quiet preamps are considerably less relevant than they used to be.
Traditionally, the location sound deliverables to the post processing crew have gone through quite a bit of cleanup & balancing, and any small improvements in the location sound end would generate large benefits the post process.
With new AI assisted tools it is apparently much easier and faster to process sounds/dialogue, and variations in noise levels is now of little importance. This can also be applied to fieldrecordists sound libraries etc.
It is possible that the preamp quality may not be the deciding factor for the success of the new Deity products.
Can someone decipher this for a simple lay person like myself? At face value it sounds highly dubious, but what do I know?
My interpretation was, AI has made post production easier so even if the Deity has preamps with a higher noise level it might not deter people from purchasing it because it could be corrected/improved in post production.
To me this sounds more like the Location sound community (Deity's primary customer group) trying to rationalize the product having a lower quality preamp compared to the competition.
for me, the price point would need to be low enough.
I have got a Tascam Dr-60d that people said had pre that could be better but the price point was so much less it was worth the trade off for my needs.
If the price is similar to a device with better ores then I would just get the better one without question
"First Look" posted a little over a week ago. He mentions at 1:40 that both XLRs can be used as digital (AES) inputs for 2 stereo inputs. I initially thought only one would be available for AES.
The product page currently has a countdown timer at ~16 days.
https://deitymic.com/pr-4/
About 11 hours now...
There are some strange AI "advertisements" showing up on youtube.
(https://i.imgur.com/RmjYs8p.png)
lmao, so many fingers
Officaially Available. $449
https://www.adorama.com/deity-pr-4-32-bit-float-audio-recorder/p/dytdp505048r
I preordered the PR2. Because of that, I'll wait for reports on the PR4...
Isn't is supposed to have a digital input or was that just the PR8?
Says it has 2xaes
The adorma add has not mention of digital inputs!
Quote from: grawk on April 13, 2026, 08:40:38 AM
Says it has 2xaes
https://deitymic.com/pr-4/
QuoteInput
2× XLR (Mic, +48V, Line, AES3, AES42)
Stereo 3.5 mm TRS
Adorama's specs also don't mention the 2 xlr inputs, so I think maybe it was rushed to go live first.
Okay, I was wondering if the digital input got left out!
Quote from: grawk on April 13, 2026, 08:47:40 AM
https://deitymic.com/pr-4/
QuoteInput
2× XLR (Mic, +48V, Line, AES3, AES42)
Stereo 3.5 mm TRS
Adorama's specs also don't mention the 2 xlr inputs, so I think maybe it was rushed to go live first.
I commented in a YT video asking if both XLRs could be used as AES inputs and they said yes. Still hoping that's the case.
/>
This is the marketing claim on the preamps:
"The PR-4 features the brand new ReGain Preamps™, ultra-quiet microphone preamps that deliver up to 60 dB of gain, providing enough amplification to drive even demanding dynamic microphones without the need for external inline boosters.
"Achieving an Equivalent Input Noise of -127 dBV (-125 dBu) represents a significant engineering accomplishment for the PR-4's preamp design. Measured under A-weighted conditions at 60 dB gain with a 150 ohm source, this level of performance places the PR-4 firmly in professional territory, delivering an exceptionally low noise floor that preserves detail and clarity even with low-output microphones."
when in AES mode only digital is supported so no mixing analong inputs and digi. thats a bummer for me wanting to use the sonosax on aes and take a board feed on 3/4 but its got a ton of features
I was checking out the manual earlier.
https://deitymic.com/wp-content/uploads/2026/04/PR-4-User-Manual.pdf
I love my dr100mkIII, but the fact that this has AES is a big possibility to move away from the tascam
A digital input isn't that big of a deal to me (nice extra)! The Sax is the only preamp with digi out in production anymore. I really like the size for running 4 channels though, if the preamps sound nice. To be honest it's annoying that the release date is for preorder and nonrefundable. Talk about stalling.
Quote from: jbell on April 14, 2026, 03:58:41 PM
A digital input isn't that big of a deal to me (nice extra)! There Sax is the only preamp with digi out in production anymore. I really like the size for running 4 channels though, if the preamps sound nice.
I still have the ol' trusty vertical, so for me, yeah, aes is a game changer (and no one with do a digi-in anymore it seems). I'm the odd one out still using a minime, whatevs! :cheers:
Quote from: jbell on April 14, 2026, 03:58:41 PM
A digital input isn't that big of a deal to me (nice extra)! There Sax is the only preamp with digi out in production anymore. I really like the size for running 4 channels though, if the preamps sound nice.
Yeah, the math doesn't math if you need 2 sonosaxes to get good preamps. My concern with channels 3/4 is they're not xlr, so that removes some of the benefit of the size. I'd love a recorder I can plug my DMS rig into or the ambeo, but this doesn't seem to be it.
Quote from: grawk on April 14, 2026, 04:02:33 PM
Quote from: jbell on April 14, 2026, 03:58:41 PM
A digital input isn't that big of a deal to me (nice extra)! There Sax is the only preamp with digi out in production anymore. I really like the size for running 4 channels though, if the preamps sound nice. In
Yeah, the math doesn't math if you need 2 sonosaxes to get good preamps. My concern with channels 3/4 is they're not xlr, so that removes some of the benefit of the size. I'd love a recorder I can plug my DMS rig into or the ambeo, but this doesn't seem to be it.
I was thinking I could run my Schoeps> Riotbox into channel 3/4 to use all the channels! I'm going to hold off until it is vetted and proven worthy.
That's a great option for 2 pairs of mics. I want the same preamps on all inputs from either the ambeo or schoeps DMS. I know they're not obligated to my use case, and I may replace my tascam fr-av2 with this if it turns out to be comparable.
Honestly tho, I want the PR2 they described while it was vaporware :)
Quote from: mterry on April 14, 2026, 04:01:37 PM
Quote from: jbell on April 14, 2026, 03:58:41 PM
A digital input isn't that big of a deal to me (nice extra)! There Sax is the only preamp with digi out in production anymore. I really like the size for running 4 channels though, if the preamps sound nice.
I still have the ol' trusty vertical, so for me, yeah, aes is a game changer (and no one with do a digi-in anymore it seems). I'm the odd one out still using a minime, whatevs! :cheers:
That's a huge preamp for a recorder that small. Good luck keeping that apogee alive.
Quote from: grawk on April 14, 2026, 04:16:21 PM
Honestly tho, I want the PR2 they described while it was vaporware :)
;) I want the PR2 to be exactly that, and the PR4 to be a four channel version of that PR2 providing four channels via two locking minijack inputs. But have been waiting for that since the DR2d.
Quote from: vwmule on April 14, 2026, 10:19:44 AM
This is the marketing claim on the preamps:
"The PR-4 features the brand new ReGain Preamps™, ultra-quiet microphone preamps that deliver up to 60 dB of gain, providing enough amplification to drive even demanding dynamic microphones without the need for external inline boosters.
"Achieving an Equivalent Input Noise of -127 dBV (-125 dBu) represents a significant engineering accomplishment for the PR-4's preamp design. Measured under A-weighted conditions at 60 dB gain with a 150 ohm source, this level of performance places the PR-4 firmly in professional territory, delivering an exceptionally low noise floor that preserves detail and clarity even with low-output microphones."
Mixpreii
-128dBu
76 dB gain range
Thats a rather BIG gain difference!!
s/n ratio likely MUCH better in the MPii.
This PR4 pres hovers right there between Zoom H Series and F Series in quality. With the F a single stage pre and the Deity a dual to get that quality.
Don't know why the big hype of this? It was basically designed for field use for capturing spoken word ...like interviews..and not designed for quality live music capture. End of the day ya spend more $$ on pres cables battieries adding more things that can go wrong or, buy a quality self contained unit that has great specs and quality pres. In the production field the former is adding way to many dynamics and problems to the mix.
Quote from: jbell on April 14, 2026, 04:35:57 PM
Quote from: mterry on April 14, 2026, 04:01:37 PM
Quote from: jbell on April 14, 2026, 03:58:41 PM
A digital input isn't that big of a deal to me (nice extra)! There Sax is the only preamp with digi out in production anymore. I really like the size for running 4 channels though, if the preamps sound nice.
I still have the ol' trusty vertical, so for me, yeah, aes is a game changer (and no one with do a digi-in anymore it seems). I'm the odd one out still using a minime, whatevs! :cheers:
That's a huge preamp for a recorder that small. Good luck keeping that apogee alive.
The Zoom H6 is right at 55/6, I can def. hear an audible difference between the Zoom and Mix..Night and day...I bet most could with this Deity too.
I don't remember the last time I used more than 20db of gain on a live concert recording. Now, ribbon mics recording acoustic guitar and vocal at 6 ft, sure.
Quote from: grawk on April 14, 2026, 11:33:31 PM
I don't remember the last time I used more than 20db of gain on a live concert recording. Now, ribbon mics recording acoustic guitar and vocal at 6 ft, sure.
Using a lower gain setting provides cleaner audio with less distortion and noise, increased dynamic range, and better control over volume. If my recordings require 25-30% less gain on a quality recorder, that is substantial and def audible.
The PR4 isn't in direct competition with the Mixpre 6! That would be the PR8.
Quote from: Top Hat on April 14, 2026, 08:13:08 PM
Quote from: vwmule on April 14, 2026, 10:19:44 AM
This is the marketing claim on the preamps:
"The PR-4 features the brand new ReGain Preamps™, ultra-quiet microphone preamps that deliver up to 60 dB of gain, providing enough amplification to drive even demanding dynamic microphones without the need for external inline boosters.
"Achieving an Equivalent Input Noise of -127 dBV (-125 dBu) represents a significant engineering accomplishment for the PR-4's preamp design. Measured under A-weighted conditions at 60 dB gain with a 150 ohm source, this level of performance places the PR-4 firmly in professional territory, delivering an exceptionally low noise floor that preserves detail and clarity even with low-output microphones."
Mixpreii
-128dBu
76 dB gain range
Thats a rather BIG gain difference!!
s/n ratio likely MUCH better in the MPii.
This PR4 pres hovers right there between Zoom H Series and F Series in quality. With the F a single stage pre and the Deity a dual to get that quality.
Don't know why the big hype of this? It was basically designed for field use for capturing spoken word ...like interviews..and not designed for quality live music capture. End of the day ya spend more $$ on pres cables battieries adding more things that can go wrong or, buy a quality self contained unit that has great specs and quality pres. In the production field the former is adding way to many dynamics and problems to the mix.
Quote from: Top Hat on April 15, 2026, 02:05:27 AM
Quote from: grawk on April 14, 2026, 11:33:31 PM
I don't remember the last time I used more than 20db of gain on a live concert recording. Now, ribbon mics recording acoustic guitar and vocal at 6 ft, sure.
Using a lower gain setting provides cleaner audio with less distortion and noise, increased dynamic range, and better control over volume. If my recordings require 25-30% less gain on a quality recorder, that is substantial and def audible.
Advantageous to get the signal level up to where it needs to be early in the signal chain, and earliest is the mic itself. Condenser mics with sufficient sensitivity require minimal if any additional gain. Input stage still important but becomes less of a factor that way, signal to noise improves, etc.
But, a problem with the PR2 proved to be its inability to handle high sensitivity mic inputs.
Quote from: grawk on April 13, 2026, 07:43:52 AM
I preordered the PR2. Because of that, I'll wait for reports on the PR4...
Exactly this. Not interested in seeing that it's noisy AF based on the PR-2. Don't care about specs; more interested in real world data and experience.
After seeing (over the Internet) the PR-4 as shown at the NAB convention last week, I wrote to the company thusly:
QuoteHello. I'm trying to understand the degree of support built in to the PR-4 for recording stereo with two AES42 digital microphones simultaneously. I've read the manual and didn't find answers to these questions.
[1] Do the XLR inputs, when switched to AES42, supply digital phantom powering (10 VDC)? If not, how do you suggest that users power their AES42 microphones?
[2] Are the AES42 connections Mode 1 (= microphones are self-clocking) or Mode 2 (= microphone clocks are controlled by the interface)? If it's Mode 1, how does the recorder resolve the inevitable, real-world differences between the clock rates of the two inputs (e.g. does it have built-in sample rate conversion for one input)? (I think this would equally be an issue for AES3 inputs, by the way.)
[3] In the most frequent use case, an AES42 microphone provides just one channel's worth of audio data, even though the interface is inherently two-channel; the second data channel coming from the microphone is normally identical to the first. With two AES42 microphones connected for stereo, is there a way to select just one channel from each microphone's output stream, and to record two rather than four channels of data, so as not to waste storage in the recorder?
Best regards,
Today I received the following reply:
QuoteThank you for your questions. Please find our responses below:
1. The voltage is 10V.
2. The device operates in Mode 1. Both inputs perform SRC (Sample Rate Conversion), and they share the same clock source, consistent with AES3.
3. Yes, this can be achieved. When using an AES42 microphone, the 3.5mm TRS input will be disabled. In the ARMSET settings, CH1/2 correspond to Microphone 1, and CH3/4 correspond to Microphone 2, which can be assigned flexibly as needed.
Please feel free to let us know if you have any further questions.
Best wishes
-- Looking on their Web site, I note that there isn't a separate U.S. version of this model with monitoring-while-recording disabled. Maybe the more complex routing arrangement gets them around the
(IIRC) Lectrosonics Zaxcom patent (thanks for the correction, Grawk).
-- Digital phantom powering can draw up to 250 mA (long-term) per microphone. I probably should have asked about expected battery life when two AES42 mikes are connected and powered on; it will definitely be lower than with other types of sources.
*zaxcom patent
I really want the PR4 to work as advertised. If the preamps are good it will work great for my recording situations.
Is the Zaxcom patent still in effect? I assumed it had sunset. AFAIK, It covered simultaneous local recording and wireless transmission in a wireless body pack transmitter. Work around was simply doing either/or. Its applicability to PR-2 and the work around by Deity of disabling analog pass-through to the headphone/line-out always seemed dubious to me, since PR-2 is a recorder not a transmitter, and recorders naturally feature monitor/line outs. Technically PR2 can wirelessly transmit to the phone app, but only for monitoring, not reliably and only in lossy quality. Nobody is recording that signal, so its not really functioning like a wireless transmitter.
In comparison Instamic (now owned by Zoom) more clearly infringes, assuming I'm correct about its scope, and yet they are selling Instamics without a patent challenge.
Just did a search and found this discussion on the patent- https://www.reddit.com/r/LocationSound/comments/1ednhdp/is_zaxcom_actually_holding_back_the_industry_in/
To the best of my recollection, the Zaxcom patent applied to a dual ADC system. Basically exactly what the 32-bit float deal does, but in 24-bit. I think the patent may still be in effect, but I am not sure. I guess that SD got around it by implementing a novel, patented, approach to dealing with the two ADC outputs.
That may be a different patent. The one which presumably lead to the revised US version of the PR-2 with disabled signal pass-through to the headphone jack is the one concerning simultaneous recording and wireless transmission. It's discussed in the link I posted above.
I think the relevant patent may be the one attached here, from the USPTO's Web site. Its "adjusted expiration" date is listed on Google's patent site as June 10, 2028 and no, Google's copy of the patent document is no better than the USPTO's. It was filed in 2005 and granted in 2010.
Boy am I not a patent attorney, nor do I have time to study this unwieldy thing right now. And from what I've read on line, one or more lawsuits may have resulted in some of the claims being nullified.
-- In their suit against Røde they listed the following patents, with their dates of publication shown:
US 7,711,443 B1; // 2010
US 7,929,902 B1; // 2011
US 8,385,814 B2; // 2011
US 9,336,307 B2; // 2016
US 10,276,207 B1; // 2019
US 11,610,605 B1 // 2023
[edited later to add:] jbell, I think you're exactly right to be concerned about the preamps, specifically their dynamic range. You can use the most advanced A/D converters in the world but if the mike preamps clip, or their noise floor is exposed, you'll have nothing but a pure, pristine recording of a clipped or noisy signal. Deity claims to have a new generation mike preamp circuit that's about 10 dB quieter than the previous generation, and they say that those preamps are in the PR-4.
Quote from: DSatz on April 24, 2026, 08:41:10 PM
[edited later to add:] jbell, I think you're exactly right to be concerned about the preamps, specifically their dynamic range. You can use the most advanced A/D converters in the world but if the mike preamps clip, or their noise floor is exposed, you'll have nothing but a pure, pristine recording of a clipped or noisy signal. Deity claims to have a new generation mike preamp circuit that's about 10 dB quieter than the previous generation, and they say that those preamps are in the PR-4.
@jbell said it best. That's my main concern as well -- the PR-2 was noisy AF so I don't need that kind of noise being introduced.
Hopefully some tests will take place in the real world once people start receiving them. As jbell said, this works perfectly fine for my purposes and could replace my F6 easily especially since I have a RiotBox for the mics.
fwiw Deity has also announced a second-generation PR-2 with these new, allegedly quieter preamps in it.
Is anyone preordering a PR4??
Quote from: jbell on April 28, 2026, 12:15:31 PM
Is anyone preordering a PR4??
not many here but several on the FB XLR group
Quote from: darby on April 28, 2026, 02:19:04 PM
Quote from: jbell on April 28, 2026, 12:15:31 PM
Is anyone preordering a PR4??
not many here but several on the FB XLR group
I really want one, but nervous after the PR2 let down.
Quote from: jbell on April 28, 2026, 02:25:50 PM
Quote from: darby on April 28, 2026, 02:19:04 PM
Quote from: jbell on April 28, 2026, 12:15:31 PM
Is anyone preordering a PR4??
not many here but several on the FB XLR group
I really want one, but nervous after the PR2 let down.
after updating to the latest firmware, the PR-2 is much better
the metering is reliable now and at least running Line In you can raise it over -10dB
the battery indicator is still crap, but I use rechargeables and flip them every time
anyway... I will report on the PR-4 after they come out
I plan on using it as a bit bucket as well as Mic In so I can see how the mic pres truly are
Quote from: darby on April 28, 2026, 03:16:06 PM
Quote from: jbell on April 28, 2026, 02:25:50 PM
Quote from: darby on April 28, 2026, 02:19:04 PM
Quote from: jbell on April 28, 2026, 12:15:31 PM
Is anyone preordering a PR4??
not many here but several on the FB XLR group
I really want one, but nervous after the PR2 let down.
after updating to the latest firmware, the PR-2 is much better
the metering is reliable now and at least running Line In you can raise it over -10dB
the battery indicator is still crap, but I use rechargeables and flip them every time
anyway... I will report on the PR-4 after they come out
I plan on using it as a bit bucket as well as Mic In so I can see how the mic pres truly are
I might become a test subject as well!!
@darby and @jbell - Keep us posted.
I, too, was burned by the PR-2. I found the pres not as good as the A10 so I ended up going back to the A10. With metering including peak hold now, that's the way it should've been from day one.
Hoping the PR-2ii is better but I guess we'll know soon enough.
Well, at the vary least this thing could replace my SD 702t in my bag. That would save space and weight, while eliminating the need for compact flash card. And given the price point, how can you really complain?!
If you want to use the preamps and they suck, that would be a problem!
Quote from: HealthCov Chris on April 28, 2026, 10:48:43 PM
Well, at the vary least this thing could replace my SD 702t in my bag. That would save space and weight, while eliminating the need for compact flash card. And given the price point, how can you really complain?!
Quote from: jbell on April 29, 2026, 07:08:48 AM
If you want to use the preamps and they suck, that would be a problem!
Quote from: HealthCov Chris on April 28, 2026, 10:48:43 PM
Well, at the vary least this thing could replace my SD 702t in my bag. That would save space and weight, while eliminating the need for compact flash card. And given the price point, how can you really complain?!
That is certainly one of my main concerns.
That's actually most of our concerns. Guess we'll find out soon enough.
If I didn't have some new bills pop up I would totally be the guinea pig for this recorder. I have no doubts they're able to improve the "performance" of their preamps (ie they'll be measurably quieter) but I am curious if the intended use of being a dialogue recorder results in a not-very-musical sound. I think the Sound Devices MixPre recorders (subtly) suffer the same fate. Great noise performance but the mids are just "off" to my ears. Time will tell, anyone here bite the bullet? Pr-4 results could be indicative of the new PR-2 ii performance as well....
Anyone get a shipment notification?
Couple of hours I got an email that todays shipping is pushed back and that theres a new ,,estimated" shipping date as of May 31st, 2026...
Ím in Europe and ordered in Austria to benefit from the pre-order free bag offer...,
Quote from: jbell on May 15, 2026, 11:53:48 AM
Anyone get a shipment notification?
no... and B&H no longer says expected May 15
Quote from: darby on May 15, 2026, 01:03:18 PM
Quote from: jbell on May 15, 2026, 11:53:48 AM
Anyone get a shipment notification?
no... and B&H no longer says expected May 15
Deity, the longest product launches I have ever seen. This is why I didn't preorder.
Quote from: elwoodpdowd on May 15, 2026, 12:36:38 PM
Couple of hours I got an email that todays shipping is pushed back and that theres a new ,,estimated" shipping date as of May 31st, 202627...
Fixed that for you...
Quote from: elwoodpdowd on May 15, 2026, 12:36:38 PM
Couple of hours I got an email that todays shipping is pushed back and that theres a new ,,estimated" shipping date as of May 31st, 2026...
Ím in Europe and ordered in Austria to benefit from the pre-order free bag offer...,
Deity website now has:
Units will ship in late JuneI think I've seen this movie already. Let us know if you get the free bag.
Jeff
^ Exactly why I didn't preorder! I wish they wouldn't announce products until they are ready ship. Deity has done a terrible job with release dates. Preorders will probably ship in July at this rate.
I'm shocked ;)
(https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRuYq9w3PrBWkJYry3AFZtOnt0_U5EsaJV7GQ&s)
So my May 2027 date still has a chance...
Frustrating but also partly why I didn't preorder.
Quote from: adrianf74 on May 19, 2026, 08:17:52 PM
So my May 2027 date still has a chance...
Frustrating but also partly why I didn't preorder.
I'm not sure I'd bet on under.
Quote from: jbell on May 19, 2026, 02:08:23 PM
Deity has done a terrible job with release dates. Preorders will probably ship in July at this rate.
I might be mistaken, but didn't Deity also kinda mislead on the prerelease of the PR-2 in that it only can do 32-bit float on one channel? I'll update/delete if this incorrect.
Quote from: fanofjam on May 19, 2026, 10:26:05 PM
Quote from: jbell on May 19, 2026, 02:08:23 PM
Deity has done a terrible job with release dates. Preorders will probably ship in July at this rate.
I might be mistaken, but didn't Deity also kinda mislead on the prerelease of the PR-2 in that it only can do 32-bit float on one channel? I'll update/delete if this incorrect.
Well, that major change of spec became clear
before the pre-sale started (although they didn't exactly shouted it out from the rooftops). But also with the PR2, the shipping was delayed a couple of times after start of the pre-sale...
A recent review, Deity is active in the comments :
Deity's site now shows as in stock and shipping. B&H still says coming soon.
Quote from: audBall on June 19, 2026, 12:32:24 PM
Deity's site now shows as in stock and shipping. B&H still says coming soon.
NOT shipping until july
^ Oh, good catch. I only saw the top part with the 40 in stock and didn't scroll down.
Quote from: darby on June 19, 2026, 02:47:02 PM
Quote from: audBall on June 19, 2026, 12:32:24 PM
Deity's site now shows as in stock and shipping. B&H still says coming soon.
NOT shipping until july
July 2026 or 2027? Asking for a friend. :D
Honestly though, I'm really interested to see what people say about it when they've had a chance to play with it.
Quote from: adrianf74 on June 19, 2026, 05:25:28 PM
Quote from: darby on June 19, 2026, 02:47:02 PM
Quote from: audBall on June 19, 2026, 12:32:24 PM
Deity's site now shows as in stock and shipping. B&H still says coming soon.
NOT shipping until july
July 2026 or 2027? Asking for a friend. :D
Honestly though, I'm really interested to see what people say about it when they've had a chance to play with it.
It's got the ideal feature set for me. Wish the damn thing would start shipping though. I'm not a pre-order type of guy and won't let someone sit on my money forever while they promise a release date. So, until they actually start shipping, I'll still be using one of my other...oh...10 or 11 other recorders. :)
Quote from: fanofjam on June 20, 2026, 09:44:21 PM
So, until they actually start shipping, I'll still be using one of my other...oh...10 or 11 other recorders. :)
This person tapes.
Some initial impressions from Curtis Judd :
In stock at B&H and now shipping...July 5 at 9:30pm EST.
Quote from: fanofjam on July 05, 2026, 09:33:25 PMIn stock at B&H and now shipping...July 5 at 9:30pm EST.
Got email that mine shipped this morning after ordering it yesterday, so they actually are in stock and shipping, for what it's worth.
Looking forward to the tests this goes through with early adopters. Loving the idea of this with a PR-2(ii) for times where I need 6 channels (usually four).
Quote from: adrianf74 on July 06, 2026, 05:11:24 PMLooking forward to the tests this goes through with early adopters. Loving the idea of this with a PR-2(ii) for times where I need 6 channels (usually four).
If I get to that point (6 channels) I've got a Zoom f6 that I love, or if less space is needed, I can't say enough about my love for the Zoom F3. I'm on the fence for keeping my PR-2 for in-pocket situations, since I've used the F3 in-pocket with no problems, so considering selling the PR-2 because the F3 has 32-bit float on two channels, which I find to be SOOOO damn nice for stealth recording situations.
Got my PR-4 today and have spent a couple hours with it. First impressions:
What I like:
- Size. A little wider, but the same height as a deck of playing cards. Maybe twice the thickness of a deck of cards.
- Digital inputs in a really compact size package. WOW! LOVE THIS.
- Dual recording...it records to both SD and SSD at the same time.
- Space saving 3.5mm connector for channels 3/4. I know some (probably most) people would want these to be XLRs, but I appreciate that the mini-jack saves space on this thing. For me, I can use that interface as the input from my riotbox, which is how I'll mainly be using it. If I want to use these channels with XLR mics, all I need to do is connect my 3.5mm > Stereo XLR y-cable.
- The NP550 battery that powers this thing is a common battery and readily available on Amazon. No proprietary battery or connectors on this thing that cost triple so that the manufacturer can suck money from its loyal customers.
- On/Off switch. Slides easily but virtually impossible to accidentally shut off since the yellow button needs to be depressed to change the slider switch position.
- Interface controls. Very simple and accessible for menu access and navigating through the menus. Absolutely intuitive and much MUCH better IMHO than the SD mixpre series interface.
- Touch screen. The touch screen has only one function, which I love. The only thing the touch screen does is toggle back and forth between channels 1/2 and 3/4. When 1/2 are selected, the fader and level controls are controlled by the knobs on the left side. Touch the screen and it switches to Channels 3/4 with the same controls used to change 3 and 4. There's nothing on the touch screen that I can see that would cause a recording to be messed up simply from a 'butt dial' type tap of the screen. I LOVE this. Touch screens are cool and modern and all, but I've got fat fingertips and I just prefer knobs and buttons. (By the way, you do swipe left/right/up/down on the touch screen as an alternative/quick way to access logical menu's, but otherwise the only real function of the touchscreen is to toggle between channels 1/2 and 3/4.)
- Screen is really nice and bright, even though it's quite small. I don't see it being a problem seeing in any recording scenario, unless you have poor eyesight.
- You can toggle off the 'Deity' LED on the back that lights up whenever you're recording. This is nice for the videographers that this unit was targeted to, so that the people can know when you're recording, but a literal waste of power for us audio recorders.
- Three powering options...internal (optional) NP550 battery, USBC port, 4-pin Hirose connector. I'll be using the USBC port with NP550 as backup in case the USBC cable gets accidentally pulled out. Whichever power is being supplied to the unit is displayed on the screen, so it should be easy to tell if a USB cable accidentally gets pulled if this is sitting in the bottom of your bag.
- Access to the SD card doesn't require removal of any other stuff. We all know what I'm referring to here...the SD Mix-Pre 3 (and I think the 6) requires removal of the battery to access the card slot.
What I neither like, nor dislike:
- You have a choice between basic and expert mode in the menu. Basic mode disables some of the controls and makes this thing operate kinda like a press and play cassette deck. Meh. Basic disables a few functions...like the fader/gain knobs (gain levels are selected from the gain control in the input menu). I understand the point because in 32-bit float everything is kinda recording on autopilot anyway so faders and gain knobs aren't really needed (except if you inexplicably use this thing as a 24-bit recorder), but 'BASIC' does nothing for me. I'm pretty sure that literally all of us in taper world will be choosing Expert, although I suppose "BASIC" make it operate similar to a Zoom F3. I don't particularly see the point of 'basic', but what the heck.
- The NP battery that powers the unit is NOT included. I wouldn't necessarily have expected it to be included, but it's kinda weird opening this thing up and having that big old empty space behind the battery cover.
- It's weird to me that, from what I can tell, you don't have an option to toggle the SSD off to save power. With this thing using so little power anyway, it might not be a big deal, but I'm thinking that if you get 8 hours from the NP550, you could longer run times if you could turn off the SSD, but maybe SSDs draw so little power it's a moot point.
- I haven't tried the app yet. Not sure if I'm even going to use that. I don't use and never particularly cared for the SD wingman app. I don't like the thought that my phone can accidently fuck up a recording if a butt dial happens.
- The record button is kinda funky, but I kinda like it. An instant press starts recording, but you have to press and hold for a second or two to stop recording. I think I prefer double press to stop the recording, but long press effectively does the same thing to prevent an accidental rec button press.
What I don't like:
- It's not that I don't like this...I ABSOLUTELY HATE IT. There's no way to delete a file from either the SSD or SD Card from the User Interface. I suppose it's nice so that you don't accidentally delete something, but having to connect the USB cable simply to manage your files is going to be a real PITA. What happens in the field when I'm at a festival on Day 4 and discover that I'm about to run out of disc space and I don't have any extra SD cards with me?? Normally, I'd go into the interface and delete old recordings to make space. Not on this thing. Changing this MUST BE INCLUDED IN THE FIRST FIRMWARE UPDATE. FWIW, I put a 256gb SD card in it to hopefully avoid any space management issues until a firmware update is done.
- This could have been in the 'indifferent' category, but I decided to include it as a negative because it makes no sense to me. The card format selection IS NOT in the system menu. Throughout the history of mankind, 'format' is under the system menu, why not here? You have to search for it and finally find it buried on the second page of the REC menu. Weird.
- The default Timecode mode is a blinking red rectangular square on the base screen. It's a HUGE distraction because of both the size of the rectangle and ESPECIALLY that its default mode is blinking. It's the only blinking item on the screen! The icon itself isn't useful at all for us audio tapers that don't use timecode. First off, I'd prefer the real estate on the basic screen not to include timecode information. Second change the default setting. That said, it's probably not a big deal in the long run. It annoyingly took me any hour to figure out how to get the blinking to stop...the blinking is SOO distracting.
That said, the blinking is easy to fix, even though I spent an hour trying to figure it out. From the timecode menu, select the Deity as the MASTER and the icon will stop blinking. As a personal preference, I also changed the color to purple which makes that icon much less prominent on the base screen. However, my personal preference would be to remove the timecode from the base screen altogether and bury it one level down in the menu.
- So far, from messing around with it and skimming through the manual, I'm not seeing a HOLD function. I hope I'm going to update this post and remove this comment, but for now I don't think it has one. EDIT: Thankfully there IS a hold function, but Deity calls it LOCK, which is why I didn't find it searching the term 'hold'. While recording is on, press the menu button three times in succession to toggle LOCK on and off. Whew!
Nice review.
Remote control via the same Sidus app used with PR-2?
Quote from: Gutbucket on July 08, 2026, 05:55:21 PMNice review.
Remote control via the same Sidus app used with PR-2?
Yes I just grabbed the Sidus app and it interfaces fine with the PR-4. Seems to set up glitch-free...took less than five minutes to register on the app and have the app recognize the PR-4, of course after I enabled bluetooth on the PR-4.
I never used the app with PR-2 for reasons I mentioned before. Is there a lock function on the app so that nothing can be reset while your phone is in your pocket. I did start and stop recording via the app just now and I like that before stopping the recording the app asks if you really want to stop recording, which should prevent accidental stopping, but I'd also like a lock to prevent any other controls from being accidentally bumped. TIA.
For what it's worth, I've left the PR-4 on for the last two hours with it recording (no mics attached though) and I can't feel that it's any warmer than it was when I first took it out of the packaging. Probably not indicative of anything though until I connect two sets of mics with phantom turned on.
I just spent another hour trying to confirm that my initial concern about no file delete from the menu is correct and I just can't find where you can do this, so I really think my initial concern holds true. Someone please correct this if you see something I don't.
I was also starting to doubt my conclusion that the SD and SSD can't be independently controlled to switch either of them on and off, but I think that's also holding true. The reason I was starting to doubt is the basic screen has two tiny little icons that are continuously lit green...one for the SD and one for the SSD. My thinking was that, logically those icons should correspond to the SD and SSDs being enabled...like say green for enable/on and red for disabled/off. However, that doesn't appear to be how it works.
Upon switching on the PR-4, those two icons don't initially appear on the main screen. Then after five to ten seconds, the come on and are lit green. I think what's happening is that the machine goes through some sort of self-check and one of the self-check functions that the SD and SSD are both working properly. If there's no SD card in the slot, the only icon that lights is the SSD icon. But with the SD card installed, both of them come on. I don't have a bad SD card to check, but my bet is that if either the SD card or SSD go bad, the corresponding icons will light red instead of green.
I'll double check the manual to see if there's anything about these lights/icons and/or confirm the above.
EDIT: Nope, the colors of the lights associated with the SD and SSD cards is simply to indicate if they are almost full. They are lit green until there's only 1 hour of recording time left, then they turn red. I mean, that's nice and all, but I'd REALLY prefer having the ability to independently control the SSD to toggle it off, especially if it draws much battery power.
If only because it is much easier to see and more fully labeled (at least it is on PR-2), you might try using the Sidus app only to check settings and available menu options, even if not using it for while recording.
Quote from: fanofjam on July 08, 2026, 07:22:32 PMQuote from: Gutbucket on July 08, 2026, 05:55:21 PMNice review.
Remote control via the same Sidus app used with PR-2?
Yes I just grabbed the Sidus app and it interfaces fine with the PR-4. Seems to set up glitch-free...took less than five minutes to register on the app and have the app recognize the PR-4, of course after I enabled bluetooth on the PR-4.
I never used the app with PR-2 for reasons I mentioned before. Is there a lock function on the app so that nothing can be reset while your phone is in your pocket. I did start and stop recording via the app just now and I like that before stopping the recording the app asks if you really want to stop recording, which should prevent accidental stopping, but I'd also like a lock to prevent any other controls from being accidentally bumped. TIA.
I didn't use the app to control the PR-2 originally, preferring simple direct hands on control of the device, partly for the reasons you mention. I did later start using it occasionally simply as a way of easily confirming all settings.
However because I'm now using now using two PR-2 to record four channels, I use the app every time while recording to sync the clocks and for simultaneous transport control. It makes for easy syncing of date/time beforehand, of timecode just prior to the start of recording, and a single button push to start/stop both recorders. It provides control for powering both off afterward, and for batch firmware updates to the recorders wirelessly from the phone.
I'm unaware if there is a lock function in the app (I don't think there is), so I simply either minimize the app (if actively doing something else with the phone) and/or push the power button of the phone to disable the phone screen and put the phone in "standby mode", both of which protect from making any accidental changes. After the phone has been "standing by" in pocket for a while, the bluetooth connection sometimes needs to be reestablished, but doing so has not been problematic. I've not had any problems with recordings being stopped accidentally when controlling the recorders via the app.
The app has been additionally useful to "check that meters are moving" on both recorders, and otherwise confirm everything else is good while recording, including both clocks in visual sync and the input gain of all channels is correct and unchanged. The app has not been very useful for accurately confirming levels (meter movement is quite intermittent and not smooth), or for accurately adjusting levels while recording if necessary because control of levels via the app is via on screen "faders". For that reason its better to adjust levels directly on the devices themselves if possible, much more accurately via the detented input wheel of the PR-2.
[Edit- a TS member in the PR-2 thread mentioned a work around for this, which entails setting up a number of saved configurations that differ only in input gain setting and switching between them using the app, rather than trying to change gain via the screen sliders. Clever, but I've not yet tried it. And I now pretty much know what gain settings I'll need beforehand so rarely need to adjust while recording)]Obviously some of this is specific to PR-2 and may not apply to PR-4, but may be helpful for you.
@fanofjam - great mini-review first look. While I don't have the unit, yet (nobody in Canada has them for sale), some of these things are definitely "we're IT people and we're going to build it the way we think it should be done rather than what's always been done."
I don't mind the lack of disabling the internal SSD. Having a second record could prove useful and it really isn't using much more juice to write dual files.
What I am interested in is the "handoff" between the ADCs. I saw a video where someone showed some asymetrical wave files when the handoff between the two is involved. You able to check this? Here's the video and the point in where he talks about the quirk:
https://youtu.be/Xt7oeir_RTI?si=4_lqNa950R2_v_zj&t=344
can anyone confirm that, while using the aes inputs, the recorder writes 4 channels of bit perfect 24/96 PCM data?
Quote from: Gutbucket on July 09, 2026, 12:09:27 PMIf only because it is much easier to see and more fully labeled (at least it is on PR-2), you might try using the Sidus app only to check settings and available menu options, even if not using it for while recording.
Thanks alot for the response Gutbucket. Appreciate your insights.
FWIW, I messed around with the app and couldn't find a lock function for the app. From what I can tell, if you butt dial the screen, you can't toggle a recording off, since like I said before you get a 'are you sure' message before recording can be stopped from you phone. However, the channel sliders aren't protected, so looks to me like levels might be able to be butt-dialed, though again if you're in 32bit float recording mode, maybe that's a moot point. I'll check that out sometime soon with a real time sample, but as mentioned below, tonight I'm doing a battery run time test, so at the moment it's just rolling and recording background house noises.
Quote from: adrianf74 on July 09, 2026, 03:30:34 PM@fanofjam -
What I am interested in is the "handoff" between the ADCs. I saw a video where someone showed some asymetrical wave files when the handoff between the two is involved. You able to check this?
I'm checking this tonight...doing a battery run time test. I'll take a look at the files tomorrow and let you know if see anything.
I have an initial thought/idea about what he might have been seeing, but right now I'm not sure. I'm thinking it might not have been assymetrical ADCs, but glitches introduced by Automix. I did a test recording last night and was watching the L and R channel mix simply from recording two channels of background noise at home. The L/R outputs had literally ABSOLUTELY no connection to the peak levels being recorded on channels 1 and 2. I mean, totally random. Both ch 1 and 2 would be steady as a rock, since all I was recording was noises in our house...fridge, air conditioning, etc. At the same time, the L channel would jump up while the R channel wouldn't even register. Then the next second, the R channel would peak out and L would drop to zero. Really really weird. CLEARLY automix needs to be disabled for what we do, although personally I've never had any use for the L/R mix channels on any of my multi-channel recorders. I'm going to try and figure out how to disable L and R. So far, I'm not sure if that's possible because on the mix menu, the only channels available to arm are CH 1 though 4. On that menu, there doesn't seem to be a selection to disable the L and R mix channels. I'll get this susssed out after I finish the run time test recording I'm doing now.
Quote from: noahbickart on July 10, 2026, 08:41:57 AMcan anyone confirm that, while using the aes inputs, the recorder writes 4 channels of bit perfect 24/96 PCM data?
I can't comment on bit perfect data (is there something out there that tells how to run a test to make sure it's a bit perfect data stream?) , but I can comment on 4 channels and the answer is 'yes' we get four digital channels, but ONLY from the XLRs...here's what the manual says at the bottom on page 19...
- When any track is set to AES digital input mode, all track modes are synchronized to AES digital input. The 3.5mm TRS input channels are disabled, and analog and digital inputs cannot be used simultaneously.
So, no digital from the TRS jack which is labeled on the outside of the PR-4 case as channels 3 and 4 (but they're only channels 3 and 4 in analog mode...see below).
But at the bottom of page 20, is the following...
- When digital input (AES3 or AES42) is selected, the PR4 switches entirely to digital input mode. Each XLR corresponds to two input channels - occupying 2 tracks. That is, the signal from Channel 1 is mapped to tracks 1 and 2, corresponding to AES3-1 and AES3-2 or AES42-1 and AES42-2. In this mode, the settings for tracks 3 and 4 also switch to digital input, and the 3.5mm TRS physical input interface is disabled.
So even though the XLR and TRS inputs are labeled Ch 1 and 2 (XLRs) and Ch 3 and 4 (TRS) on the external case of the PR-2, in reality in digital mode, Ch 1 and 2 are from the left XLR and Ch 3 and 4 are from the right XLR.
Hope this helps.
do you have an AES/EBU source you can test? Can one change the levels while in digital mode?
so far I have NOT found a way to disable L/R Mix channel
for doing only 2 channels Digital In...
I have NONE of the Tracks Armed... but I Route 1 to Mix L and 2 to Mix R
on Output... I Route 1 to L and 2 to R if I am running AES on 1/2
it would obviously be 3 and 4 if using 3/4
this gives me a Stereo recording with NO Mix Track essentially
if I wanted to do 4 channels...
I would go ahead and Arm all 4 tracks and Route whatever to the Mix
you are going to end up with a Polywave with a Stereo Mix Track no matter what
I did NOT play with the Output since I don't think I will be using the PR-4 in that manner
Quote from: noahbickart on July 10, 2026, 07:09:41 PMdo you have an AES/EBU source you can test? Can one change the levels while in digital mode?
I do and that's something I'll be doing. I have an AD2K but it's in storage right now, which is 9 miles from home. Give me a day or two.
I bought two of these NPF550 batteries off of Amazon.
Amazon.com: RUEMIU 2-Pack Upgraded 3800mAh NP-F550 Battery Compatible with Sony NP F550, F970, F750 F330, F570, F960, F770, Camera Camcorder, LED Light, Monitor and More : Electronics (https://www.amazon.com/dp/B0FN7WQNYT?ref=ppx_yo2ov_dt_b_fed_asin_title)
Run time with Channels 1 and 2 supplying phantom to a pair of Nak 700s, screen brightness was set on 3, the red deity light on the back was disabled:
6hr, 29 min
With Channels 1 and 2 supplying phantom to a pair of Schoeps CMC4 (with 48v Phantom Mod) > mk4:
6hr, 59 min
Marketing information is claiming 8.5 hours, so I didn't get that. But Deity doesn't define the setup conditions that 8.5 hours is based on, for example how many channels and whether phantom was used. The batteries I bought aren't the Deity branded batteries. Supposedly the Amazon batteries are 3800mAH, whereas the Deity branded battery is 3350mAh, but I would never trust the specs from an off-brand battery sold on Amazon. I'm pretty pleased with 6 1/2 - 7 hours for the $30 I paid for two of the off-brand batteries. One of the Deity branded batteries is $40 on the Deity site.
For clarity, the lights that surround the two gain/fader knobs (on the left of the front face) light yellow in BASIC mode and blue in EXPERT mode. The lights look exactly like the Sound Devices lights that ring the gain control for their various products like the mixpre series and the 788t. However, be aware that on the PR-4 these lights are simply locator lights...they do not flash different colors or indicate levels like the SD mixpre series.
Would love to hear how the preamps sound!
Quote from: jbell on July 11, 2026, 10:25:22 AMWould love to hear how the preamps sound!
only $449 ;)
Quote from: darby on July 11, 2026, 01:13:31 PMQuote from: jbell on July 11, 2026, 10:25:22 AMWould love to hear how the preamps sound!
only $449 ;)
Doesn't mean a lot these days, really. The technology out there has gotten better and cheaper over the past decade.
Quote from: jbell on July 11, 2026, 02:48:31 PMQuote from: darby on July 11, 2026, 01:13:31 PMQuote from: jbell on July 11, 2026, 10:25:22 AMWould love to hear how the preamps sound!
only $449 ;)
Not ready to commit!
Jon...moe.down is next week. I'll give it a good workout and post some recordings when I get back.
Quote from: darby on July 10, 2026, 07:18:40 PMso far I have NOT found a way to disable L/R Mix channel
for doing only 2 channels Digital In...
Semi good news Darby...it turns out that you can disable any track you want to from the app. The apps mixer screen shows all of the tracks in a red box to the left of the sliders. If you tap the red box, it changes so that it's not red anymore. The only tracks that have the red box lit are recorded to the poly wave file. The display on the unit will then also change the channels that are disabled so that they are no longer highlighted in red.
Why this can't be done from the menu is a mystery. Hopefully that's another firmware update item for them to consider, but at least we're not stuck recording all six tracks to the poly wave.
Interesting note that the poly wave file is not limited in size. In other words, if you record for say six hours like I did when I was doing a run time test, the recording is one huge 6 hour poly wave file. It's not broken up into 2gb or 4gb increments, like every other recorder I've ever owned.
Quote from: adrianf74 on July 09, 2026, 03:30:34 PMWhat I am interested in is the "handoff" between the ADCs. I saw a video where someone showed some asymetrical wave files when the handoff between the two is involved. You able to check this?
Yep...no glitches for me during the battery run time test.
As reported earlier, I ran two battery tests. The first one had the automix function on and MAN is that ever funky. Totally useless for anything that we do, that's for sure. The waveform was VERY wonky with it engaged. The second run-time test had automix off.
As previously mentioned, I think in that video there's a really good chance that he was seeing the automix handing off between the channels. Automix causes one channel to kick in and simultaneously mutes the other channel. Then when a louder sound occurs in the other channel, it'll instantaneously peak out and the other channel is muted. Since I was recording background noise at home, both channels had about the same sound pressure hitting them, but even so, the level would peak out on the left channel and the right would go down to zero, and the next moment the right channel would peak and the left channel would drop to zero.
Anyway, the second test I did had the automix feature disabled. I checked out the waveform this morning and didn't notice anything unusual from zooming in on the waveform. I did a spot check in a number of locations along the timeline of the recording, though with the file being almost 7 hours long, I didn't zoom in on 7 hours worth of waveform.
Quote from: noahbickart on July 10, 2026, 08:41:57 AMcan anyone confirm that, while using the aes inputs, the recorder writes 4 channels of bit perfect 24/96 PCM data?
Teddy said PR-4 gain is engaged during recording. so not bit perfect
he runs it at 0 on the deck
Quote from: kindms on July 12, 2026, 11:36:19 AMQuote from: noahbickart on July 10, 2026, 08:41:57 AMcan anyone confirm that, while using the aes inputs, the recorder writes 4 channels of bit perfect 24/96 PCM data?
Teddy said PR-4 gain is engaged during recording. so not bit perfect
he runs it at 0 on the deck
That doesn't mean it isn't bit perfect. With 32bit containers gain is just a number recorded in the file.
Quote from: grawk on July 12, 2026, 02:52:07 PMQuote from: kindms on July 12, 2026, 11:36:19 AMQuote from: noahbickart on July 10, 2026, 08:41:57 AMcan anyone confirm that, while using the aes inputs, the recorder writes 4 channels of bit perfect 24/96 PCM data?
Teddy said PR-4 gain is engaged during recording. so not bit perfect
he runs it at 0 on the deck
That doesn't mean it isn't bit perfect. With 32bit containers gain is just a number recorded in the file.
Testing this is simple:
take a 24/96 .wav file> aes output> record to diety> flip polarity of either the original or the new diety file> load both files into DAW w/ -3db gain> Play.
If there is complete silence, the files are the same.
Quote from: fanofjam on July 11, 2026, 08:50:01 PMQuote from: adrianf74 on July 09, 2026, 03:30:34 PMWhat I am interested in is the "handoff" between the ADCs. I saw a video where someone showed some asymetrical wave files when the handoff between the two is involved. You able to check this?
Yep...no glitches for me during the battery run time test.
As reported earlier, I ran two battery tests. The first one had the automix function on and MAN is that ever funky. Totally useless for anything that we do, that's for sure. The waveform was VERY wonky with it engaged. The second run-time test had automix off.
As previously mentioned, I think in that video there's a really good chance that he was seeing the automix handing off between the channels. Automix causes one channel to kick in and simultaneously mutes the other channel. Then when a louder sound occurs in the other channel, it'll instantaneously peak out and the other channel is muted. Since I was recording background noise at home, both channels had about the same sound pressure hitting them, but even so, the level would peak out on the left channel and the right would go down to zero, and the next moment the right channel would peak and the left channel would drop to zero.
Anyway, the second test I did had the automix feature disabled. I checked out the waveform this morning and didn't notice anything unusual from zooming in on the waveform. I did a spot check in a number of locations along the timeline of the recording, though with the file being almost 7 hours long, I didn't zoom in on 7 hours worth of waveform.
Thanks for this. That actually sounds pretty promising. Now to figure out what needs to go and stay at this point in the game. Likely the F6 and F3 and then eventually the A10 once the PR-2ii drops. Having the ability to sync timecode to the deck at a board while I sit in another location that's more ideal at one of the primary venues I roll in excites me more. When I do need four channels on the same deck because I'm rolling fully open, the RiotBox will serve me well on the 1/8" input. Will be curious to hear additional feedback on how quiet/noisy/similar the deck is to the Zoom offerings.
Nice review/comparison
https://youtu.be/s37E2qEavdk
This thing does look interesting. I've been wanting to upgrade to a 32bit deck.
Quote from: Fatah Ruark (aka MIKE B) on July 13, 2026, 09:46:05 AMNice review/comparison
https://youtu.be/s37E2qEavdk
This thing does look interesting. I've been wanting to upgrade to a 32bit deck.
He mentioned the XLR input with no gain measures -128dB. I asked if he had any numbers for the mini input he has no tools for that but subjectively says it didn't sound any different -- this was answered in the comments to my question.
On butt-dialing the non-locking gain sliders in the Sidus app-
The gain sliders suck. They are absolutely terrible for making accurate adjustments from the app. I've had problems when trying to intentionally adjust gain that way, but have had no problems with accidental adjustments because the input gain sliders are on a separate page of the app than the page from which I'm starting/stopping recording, checking for active signal, running clock and visually checking for semi-close sync between recorders (which I do because the start/stop points on the two recorders do not sync perfectly even if their clocks have been wirelessly sync'd using the app - I've not yet tried having one recorder start the other via a wired Timecode connection, but plan to if possible)
In the Sidus app, I start/stop recording from the Workstation tab, where multiple recorders which have been grouped together are able to be controlled simultaneously.
Changing gain requires switching to the devices tab, then clicking on the particular device to be controlled, then adjusting the gain sliders. So at least it's buried several pages away. I may switch over to the Device tab to confirm settings, but I always switch back to the Workstation tab immediately afterward.
I don't know if control of a single recorder works the same way, achieving the same defacto "lock" by controlling transport, monitoring clock and signal from a separate page than the gain-sliders or not. I only started using the app when I started running the second recorder and always use both of them. But I assume a single recorder can be controlled from the workstation screen.
Also as you mentioned, there is also confirmation anytime the recording is stopped or the recorders are remotely powered down using the app.
On the switching routine between multiple ADC's-
This isn't the easily seen and heard channel muting done by Automix. It will be very, very subtle, and should be effectively inaudible except under extreme artificially manipulated scenarios. It specifically concerns the hand-off between the outputs of the lower-level ADC and the higher-level ADC. Since all ADC switching routines are proprietary, we don't know much about what artifacts might occur, when, and to what extent. This first came up in discussions about the Zoom F3, where presumably it was audible in some sound-design effects recordings pitched down from ultrasonic to audible range. Zoom issued a firmware update I think and I've not heard more discussion about it since. I don't think it's much of a practical concern, but it is a philosophical concern, and one that still bothers me about "32-bit recorders" in general. The manufactures moved the goal post - for convenience, away from perfection. Formerly the goal was analog-to-digital conversion that was as perfectly linear as possible across the entire audio spectrum within the dynamic range limits of the preamp and ADC - sort of an analog equivalent to digital "bit-perfect". In designs using switched ADCs this is philosophically no longer the case. Some distortion during the switch between ADCs is accepted as inevitable for the system to work as designed. The goal of absolute analog fidelity (input = output) is sacrificed for the convenience of not having to set levels. That trade off is a practical one that is worth it for most users in most cases, but it still bothers me philosophically, partly because what was formerly a clear, fundamental goal has been sacrificed for convenience. These new recording systems are no longer universal but can be problematic in special cases, like recording ultrasonic sounds and pitching them down for sound design work. The goal of convenience has eclipsed the goal of perfection. We are no longer aiming to design the most perfect audio recorders possible in terms of analog input = output. Not having to set levels has become more important.
^
More importantly and OT, that calls into question the "truly analog perfect" nature of any recorder capable of 32-bit float which utilizes multiple switched ADCs. As long as digital inputs to the PR-4 bypass the ADCs and switching routine, which they should, digital inputs should be capable of being recorded in a "bit-perfect" way. But when recording an analog input, the switching between ADC's which serves to extend dynamic range capability without the users having to set gain must be handled very carefully, and can not be done absolutely perfectly. It will introduce some kind of distortion during the switch in some scenarios. How its done is handled differently by each manufacturer, cloaked in patent protections, and not discussed openly. Manufacturers have taken a "trust us it works" mentality.
As loose analogy, think of this sort of like modes of amplification. A "class A mode" amplifier does no switching between output devices and thus offers lower distortion than a class A/B amplifier. Does it matter? In some cases it does. We expect class A mode in microphone amplifiers, mic preamps and in other low current devices where low distortion is needed and inefficiency isn't problematic. And its not too bad for things like low-powered headphone amps, just dump the extra heat. But when producing enough wattage to drive speaker loads class A inefficiency quickly becomes problematic and most folks readily accept a "less pure" class A/B design, or some other form of switching amplifier. The reduction in weight, heat, cost, and increase in efficiency is an easy trade for most folks, if not everyone.