Topic: Recorder for reporter

[Robobo1]

I'm looking for a portable recorder as a gift for a reporter.

Here are the specs... what are your recommendations?

- XLR or TRS mic input preferred (3.5mm jacks scare me, seem to fragile)
- decent pres with decent headroom and not much hiss (at this level of recorder I'm not expecting much)
- screen/meters must be visible in bright daylight (I've read the Edirol R9's screen is not visible in daylight)
- true +48V would be nice, but is not a deal-breaker
- seamless recording over 2GB (ie no split)
- SMALL, handheld (as in, I think even the Fostex FR-2LE or the Marantz PMD-660 might be too big)
- rugged, an accidental drop shouldn't break the thing
- SD or CF, doesn't matter
- AA batteries preferred, but internal battery ok

Seems like the specs on the new M-audio Multitrack II fit the bill... but it's not out yet, and I'm hesitant because I've heard the first model had a terrible mic pre.

This device will be used everywhere from quiet chic office spaces to the streets of third world countries.  It will be used primarily with an RE50, but a condenser may be employed in the future.

Thanks!

Rob

[radiovenice]

First post!  Sorry tapers that we're moving away from taper-talk on this thread!

I am a reporter.  What you're describing is the holy grail.  I haven't found it yet.  I got a Fostex FR2 LE.  Good deck, although the engineers for my old show called it "Le Brick."  I guess the decision for you is what you'll would be willing to sacrifice.  The new MT sounds good, aside from their stupid insistence on a proprietary battery which for reporting feels like a deal-breaker.  One consideration to note, ALL of the flash decks I've used have trouble giving enough gain to dynamic mics.  My FR2 LE really sounds great, but with my high-output version of an RE50, I have a hard time peaking past -20 dB or so.  Fortunately, the preamps are clean enough that you can boost safely later but it's still a pain.  I've actually found that Minidisc decks, for whatever their problems, work well with dynamic mics.  You might consider getting her a Hi-MD, despite the mini input, and buying up a big stash of Hi-MDs in case Sony stops producing them soon.

Good luck,
Brett

[flintstone]

Have you looked at the HHB Flashmic?  http://www.hhb.co.uk/flashmic/

The original Flashmic has an omni Sennheiser capsule.  HHB recently introduced a model with a cardioid capsule.  Also new is a line input for use with a feed from a sound board.

The Flashmic has 1GB of flash memory permanently mounted inside the recorder.  That's enough space for 3 hours of 16/48 monaural recordings, or 12 hours of high bit-rate MP2 files.  MP2 is used a lot by radio broadcasters.

Flintstone

[flintstone]

Another possibility is the new Sony PCM-D50. 
http://bssc.sel.sony.com/BroadcastandBusiness/DisplayModel?m=0&p=10&sp=83&id=90227

The D50 is more of a general purpose recorder than the Flashmic.  It's about 2/3 the size and weight of the FR-2LE, and includes a pair of mic capsules built in.  The D50 is a 24/96 stereo recorder that has 4GB of flash memory internally.  You can add memory using Sony's memory stick flash cards.  The mic and line in are mini TRS.  Sony's gear has proven to be a little more durable than most.

Delivery of the D50 is supposed to start in early November.  Initial price is set at $500.  I think some discounting will start after the initial demand is met.

Flintstone

[Robobo1]

Have you looked at the HHB Flashmic?  http://www.hhb.co.uk/flashmic/

The original Flashmic has an omni Sennheiser capsule.  HHB recently introduced a model with a cardioid capsule.  Also new is a line input for use with a feed from a sound board.

The Flashmic has 1GB of flash memory permanently mounted inside the recorder.  That's enough space for 3 hours of 16/48 monaural recordings, or 12 hours of high bit-rate MP2 files.  MP2 is used a lot by radio broadcasters.

Flintstone

I'd like to have the option of using other external mics... or even stereo in the future.  Also want to be able to see levels.

I appreciate your suggestion, but when this thing came out the engineers here sent the ad around as a joke!

[Robobo1]

Anyone have experience with this little guy?

I'm guessing it's on par with the Fostex LE at a cheaper price point.  Be interesting to know if it's the same pres from the PMD660.

http://www.d-mpro.com/users/folder.asp?FolderID=4313&CatID=19&SubCatID=188

[Brian Skalinder]

Zoom H4?

Not terribly familiar with it, but seems to hit many of your requirements:  XLR & 1/4" inputs, 48P, small / handheld, SD media, runs on AA batts.  I've not used one, so can't say whether the pres are "decent", splits are seamless, screen/meters visible in bright daylight, or rugged enough to withstand a drop.  Might be worth looking into, at any rate...

[Robobo1]

Zoom H4?

Not terribly familiar with it, but seems to hit many of your requirements:  XLR & 1/4" inputs, 48P, small / handheld, SD media, runs on AA batts.  I've not used one, so can't say whether the pres are "decent", splits are seamless, screen/meters visible in bright daylight, or rugged enough to withstand a drop.  Might be worth looking into, at any rate...

I've looked into it... I've read that with an external mic the pres are pretty noisy, and the gain isn't enough for a dynamic mic.  Also been told it's little brother, the H2, has terribly noisy pres.

This might be one of those deals where I just have to purchase and return until I find one that is suitable.....

[radiovenice]

The minijack and lack of P48 might be a problem but there's the soon-to-be-released Marantz, the PMD 620.  Of course, the PMD 660 didn't have great preamps for reporting...you could definitely hear hiss on the unmodded ones, not sure if they'll be better for the 620.

[Ozpeter]

Though the external mic input is not much good (why???!!), the H2's built-in mics are very quiet.  As a one piece point and shoot audio acquisition device it has a lot to recommend it.  The twin stereo mics can record to separate stereo files which gives rise to some interesting post-pro possibilities.  However, it doesn't record in mono (though it can internally mix its stereo mics to create a mono recording in stereo file format).  It doesn't do a gapless join but at 16/44.1 that gives a little over 3 hours in stereo.  I'm getting surprisingly good results with classical music, once I've done a bit of work on post-production.  It needs a dead kitten windshield out of doors. 

"Point and shoot" is the thing to keep in mind with that device.