I have tried several setups with piano in the same hall (but not generally simultaneously). The things I tried were: Schoeps MK2S > CMC6XT, Sanken CO100K, DPA4052. I generally backup with DPA4060>MMA6000>D1. These all sound superb, sometimes the backup rivalled the more expensvie mic setup (different positions and baffling), but I am convinced that the Josephsons with larger diameter diaphragm caps do the best job. The AT835ST comparison was the most exact on placement and material recorded, but the ATs cost about 1/4 what the others do, and it sounds it.
Thanks for your comments. I didn't know the MMA6000 or the D1. The MMA very much influenced a preamp I designed in 2000, which you can see here:
http://www.preciseaudio.com/brochure.htmlMy unit had balanced/XLR inputs & outputs, which the MMA does not seem to have but were very important on this application. The internal circuitry was based around the SSM2017, which I am not sure if it's what the MMA uses.
But coming back to the H4, I am very much interested in it, as an alternative to the M-Audio 24/96 and the Edirol R-09. Particularly because the H4 offers XLR inputs and 48v phantom power.
My application would always be field recording, as a backup or double-system audio for video/film recordings.
How good are the internal preamps as compared to the MMA6000?
Is it difficult to setup for recording, meaning how many steps until getting to REC/Pause?
One thing I found irritating on my Sony Hi-MD portable is that it's default is "AGC" instead of "Manual", so you can't go straight into REC/Pause as was in my Sharp 722.
How would that be in the H4?
My idea is probably to use an external preamp/mixer to feed line level signals into the H4, but having a simpler option, like feeding quality mics (like Sennheiser MKH416 or Oktavas) into it would be interesting too.