Topic: FR-2LE and setting levels

[homer420]

Howdy y'all 

I'm starting to look into flash based recorders and it seems the Fostex FR-2LE might be a good fit for me.  However there's a couple things I haven't been able to figure out (yet) which could end up to be deal-breakers for me.  So I figured I'd post to see if any of you kind folks might be able to help.

The biggest question/concern I have is related to setting levels, having to use the separate mic trim and recording level controls.  I first checked the users manual but all I could find was:

"When recording a signal from an external microphone, adjust the [MIC TRIM] control appropriately so that the "MIC PEAK" indicator does not light."

...which isn't overly helpful.  What I was hoping for was a procedure to calibrate the trim pot controls prior to a show, and then just use the recording level controls during the show.  With my current rig (MBHO 603/KA200N's -> MP-2 -> M1) I was able to calibrate the deck and preamp so that I'd only need to adjust levels on the MP-2 during the show, and could just leave the M1 alone to collect the bits.  The procedure I used for this calibration is outlined here:

http://www.sonicsense.com/calpage.htm

Now my understanding is that the trim pots on the FR-2LE need to be adjusted according to the sensitivity of the mics.  And so I'd assume that if the same mics are being used each time these levels could essentially be set and forgotten.  Does anybody know if this would be possible w/ the FR-2LE?  And if so how to go about performing this calibration?

My other question is regarding the peak indicators.  Do the level meters and/or mic peak indicators have the ability to hold and reset peaks?  I didn't see anything in the manual on this so I assume not.  But I know there are some undocumented tricks out there for other decks so I figured it couldn't hurt to ask.

If not then what are folks doing to ensure that they haven't clipped while not looking?

Thanks in advance for any and all responses!

Peace,
Dave

[timP]

every show i re-set the trim all the way open, then use the regular level controls to get close once the music statrs and then dial it in perfectly with the trim knobs



they make getting perfect levels really easy for me

[George2]

The trim controls adjust the mic signal before the preamp, so as not to overdrive the pre. Depends on how close you are to the sound source and how loud the sound source is.
It will be different for each recording, not just based on the sensitivity of the mics you are using.

Peak level has a hold function, maybe for a couple of seconds. Metering is minimal, but workable. Sound quality is excellent from the FR-2LE.

[homer420]

every show i re-set the trim all the way open, then use the regular level controls to get close once the music statrs and then dial it in perfectly with the trim knobs



they make getting perfect levels really easy for me

Thanks for the tips timP, definitely encouraging to hear it's working well for others 

The trim controls adjust the mic signal before the preamp, so as not to overdrive the pre. Depends on how close you are to the sound source and how loud the sound source is.
It will be different for each recording, not just based on the sensitivity of the mics you are using.

Peak level has a hold function, maybe for a couple of seconds. Metering is minimal, but workable. Sound quality is excellent from the FR-2LE.

Ah this makes perfect sense.  So the trim pots are essentially equivalent to the levels on my MP-2.  I should be able to work w/ that   

[George2]

If you are going to use the MP-2 preamp ahead of the FR-2LE, you should use the tape output on the mixer, I think it's a mini 1/8, and then go in 1/4 phone plug unbalanced to the Fostex. The tape-out is the correct matching level for the line-in of the FR-2LE. When using line-in on the Fostex, the trim pots are disabled. Only master volume control is active.

[homer420]

If you are going to use the MP-2 preamp ahead of the FR-2LE, you should use the tape output on the mixer, I think it's a mini 1/8, and then go in 1/4 phone plug unbalanced to the Fostex. The tape-out is the correct matching level for the line-in of the FR-2LE. When using line-in on the Fostex, the trim pots are disabled. Only master volume control is active.

I actually intend to replace the MP-2 and M1 w/ whatever flash recorder I decide on.  But thanks for the suggestion, that makes perfect sense if I were to keep the MP-2 in front.

My motivations for upgrading are:
- 24bit
- flash based (no moving parts)
- consolidate rig (just mics and recorder)

I don't stealth so I don't need anything too small, but then again having a fairly compact rig is certainly nice 

[guysonic]

If you are going to use the MP-2 preamp ahead of the FR-2LE, you should use the tape output on the mixer, I think it's a mini 1/8, and then go in 1/4 phone plug unbalanced to the Fostex. The tape-out is the correct matching level for the line-in of the FR-2LE. When using line-in on the Fostex, the trim pots are disabled. Only master volume control is active.

I actually intend to replace the MP-2 and M1 w/ whatever flash recorder I decide on.  But thanks for the suggestion, that makes perfect sense if I were to keep the MP-2 in front.

My motivations for upgrading are:
- 24bit
- flash based (no moving parts)
- consolidate rig (just mics and recorder)

I don't stealth so I don't need anything too small, but then again having a fairly compact rig is certainly nice 

As opposed with Fostex's first generation FR-2 having too many issue reports with at least the noise performance, the FR-2LE seems to test out excellent with at least balanced mic inputs. 

NO report on if working this deck with unbalanced input is also noise-free, and is less likely as quiet requiring very careful implementation of internal ground reference paths that's most difficult to implement with internationally split design groups.  This issue was most evident with first M-audio Microtrack (1) model where originally a very good electrical circuit design, circuit board design group implementation added analog noise requiring professionals to mostly use with an external preamplifier LINE level input.  (See MT2496 input spectrum graphs at http://www.sonicstudios.com/mt2496rv.htm#spectrum)

Intend loan/purchase an FR-2LE to at least test/review, but have confidence for recommending the FR-2LE working as all-in-one balanced MIC portable, is easy to power, and seems moderately priced.

[ArchivalAudio]

well the specs
seem to point that the unbalanced 1/4 inch ins
might be less noisy, or at lease have more fequency response, and a higher nois floor...

here:
Recording/Reproduction Frequency 20 Hz - 20 kHz ±2dB (FS 44.1/48kHz)
20 Hz - 40 kHz ±3dB (FS 88.2/96kHz)
S/N (ADC-DAC, 24bit, 48kHz)
Line (Input Gain: +4dBu) 95dB (typical)
Mic (Input Gain: -60dBu) 85dB (typical)
Dynamic Range 95dB (typical) (ADC-DAC, 24bit, 48kHz)
T.H.D. (ADC-DAC, 24it, 48kHz)
Line less than 0.008% (at 1kHz – 1dB, typical)
Mic (trim max) less than 0.01% (at 1kHz – 1dB, typical)

but who knows about realities

I am curious if anyone may know?