Edirol R-4 Pro

T

TZK

Member
I'm considering buying this recorder.

I am primarily shooting music videos with the HVX-200, but i would like to have the option to shoot documentaries, short films or TV Commercials.

1. Can anyone give me feedback? Is this a true proffesional grade recorder? How rugged is the hard drive on the device?

2. I need to be able to monitor and adjust the levels of all the audio going into the camera, with the option to record a backup on the R-4. Do i need a portable mixer or mic pre with the R-4? If so could you recommend one?

3. Can the timecode functions on this device allow me to record audio when shooting on Film or other mid to high end cameras that don't record audio?

I am also going to post a list of all my other audio recording equipment to make sure its appropriate, but for now i just need advice on the recording device (since this is a pricey component).
 
The feedback on this unit has generally been poor - mostly due to noisy pre-amps. I think DV mag had a review a few months ago by Jay Rose you may want to look at.

Once you start getting into that price range, you should start to look at the Sound Devices recorders instead. They are rock solid and industry standards for bagged recorders.

If you want to push down into the lower end a bit, look at the Tascam HD-P2. It is a good, solid recorder (though somewhat crippled by a missing Timecode out option - it generates TC, can be jammed from an external source, but cannot be your TC master). The pre-amps are good, though it is a two-track recorder and only records on CF.

HTH,

Phil
 
The reviews i found so far have been for the R4, not for the R4 pro. The Pro has SMPTE Timecode, and a much bigger Hard Drive. It also has more storage/file transfer options. I'm not sure if they addressed the pre-amp issue.

If you find reviews of the R-4 Pro, I would appreciate a link!

As far as Sound Devices, I have a preference for a 4-track unit, but i find the $4100 for the Sound Devices 744T, way too pricey. I would sooner buy two Tascam HD-P2s.
 
From what I've read, the R-4 pro corrected a number of the issues related to the preamps as well as adding SMPTE timecode. I believe that was from a review from several members of taperssection.com
 
Resurrecting this thread. - I bought an R4 Pro off Ebay and received it yesterday.

I updated the firmware from 1.0 to the latest 1.10, and started getting acquainted with the unit.

I plugged in a 1Gb USB flash drive to test the real time backup feature. I formatted the USB drive via the R4, and then mounted it.

It's not writing anything to the drive, and I don't see anything in the manual beyond the USB Menu options to Mount/unmount/format the drive. I rebooted/formatted/mounted in various combinations.

Is there a trick to this?
 
I thought the real time backup was for CF cards. The USB port is used to access the unit from a computer to copy off data from the HD. Maybe I am misunderstanding, but that's how I use my R-4's USB.
 
Thanks for your reply. Here's what I'm going by:

Instant Backup via USB 2.0
The USB host terminal of R-4 Pro enables high speed and instant backup of recorded data to affordable and easy obtainable media like Flash Memory, Memory Cards via card reader or HDD storage.
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There are 2 USB connections the USB-A(for memory) and the USB-B (for computer)

The brochure shows a USB memory stick installed. Surely by "Instant backup" they don't mean you can make a copy manually after recording?

PerroneFord- Can you confirm your getting backups as your recording, via the USB host connector (USB-A) to a CF card though a USB/CF card adapter?
 
I have an R-4 Pro. I think it's pretty sweet. I've used it on indo film, and recording audio for plays or musicals. It's pretty quiet. I don't use timecode, as we don't have any cameras that use it. I also use it to go to clients for location VO recording for radio spots. No it's not Sound Devices, but it's 2,000.00 and not bad at all. There is also the R-44, for 900.00 that has the same preamps, combo xlr jacks, no hard drives, 2/3 the size and no moving parts.

We did this film using the R-4 Pro: http://www.lostframes.com/dragonflycat.html

PS I did the soundtrack!
 
SamIam said:
Thanks for your reply. Here's what I'm going by:

There are 2 USB connections the USB-A(for memory) and the USB-B (for computer)

The brochure shows a USB memory stick installed. Surely by "Instant backup" they don't mean you can make a copy manually after recording?

PerroneFord- Can you confirm your getting backups as your recording, via the USB host connector (USB-A) to a CF card though a USB/CF card adapter?
Click to expand...

Sorry, from that, your unit is different than mine.

-P
 
A mix of superb and needs better features.

A mix of superb and needs better features.

The R4Pro is an awkwardly placed unit that does not fit any particular niche but, can do a number of jobs with compromises.

Where the unit shines is SUPERB AUDIO QUALITY, especially at the preamp stage which also has abundant headroom.
Sorry to say this guys but, the Edirol Pro4 is sonically superior to the SD 744t.
I have done many unscientific side by side comparisons purposely favoring the SD 744t and the Pro 4 beats it where it counts--audio fidelity.
In the following test a $4,000. Neumann U87 was plugged in directly to the mic pres of both units. The R4 Pro received a single pass while the SD744t was rerecorded eight times to get an optimum sample to compete with the R4 Pro. The R4 Pro still beats it: http://www.soundchaser.ca/sample2.html
The R4Pro is also a better stand alone unit with faster menu and writing access and separate mix facilities. Maximum sampling rate is 192KHz 24bit. You can use it as a stand alone double system with camera sync bypassing the need for a mixer, but you can not monitor in mono unless you double the channel assign to left and right. The unit is also decidedly superior for live audio recording of music performance than the Sound Devices-- a much more demanding application in terms of sure musical audiophile fidelity.

THIS UNIT IS A COMPROMISE AND IN NO WAY IS A MATCH TO THE 744t WHEN THE APPLICATION IS FILM & VIDEO.

As I stated earlier in the post, the R4 Pro is 'awkwardly placed'. While it can be used for HD video, it lacks the flexibility and professional features of a proper film recorder. There is no 48.048KHz sampling rate so the unit can not be used for film. There are no user presets so any setting you program is lost when powered down--the biggest downfall of the unit. The internal battery slot (8x AA) is useless, lasting for an hour and a half; it is only good for emergency backup. I use an on board IDX lithion Ion battery with a pouch right on the R-4 carrying bag for a total of 16-20 hours charge. There is also a lack of professional options on the limited menu. Fianlly, let us not forget two extremely important qualities for location recording--dependability and portability. While the R4 Pro is a rugged dependable unit it is in no way the equal of the 744t in terms of bullet proof dependability. Not just a few bumps here and there, but humidity, extreme climatic changes, endless non stop run time and sure physical abuse. Also, SIZE matters-- the forte of all SD products.
 
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Sound Chaser said:
Where the unit shines is SUPERB AUDIO QUALITY, especially at the preamp stage which also has abundant headroom.
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It was nice to hear the comparison. I have always been happy with my sound quality with the R4-Pro. I have used it for plays, bands, location audio for indi film (though it was a bad trip to keep the files organized with the camera takes), and portible VO work.

I am pretty sure the newer R-44 has the same pres if not better, longer battery life (though still not great), combo jacks (those quarter inch in's can be a life saver sometimes) and smaller size. I think I'm going to get one of those over the Sony D-50. My boss owns the R4-Pro, and I need my own recorder. Actually I'd love both.

I have the Zoom H4, and the audio drifts unacceptably. If the D-50 only had XLR combo jacks with true phantom, and the H4n's ability to record 4 channels at once (stereo internal mics, stereo external Ch 1 & 2) you'd have one powerful little recorder. But if you don't need timecode, and it doesn't need to go in your pocket, the R-44 is looking like the best option under $4,000.00.
 
I saw Roland demo the R4Pro and asked a few questions and pretty much discounted it for me. If it sounds good then maybe? It has no pre record buffer even my lowly Zoom h2 has a pre record buffer. That apparently I am wrong about. Battery life was miserable, price point not too great since you could get a SD recorder for less. There were some others like no track naming, can't remember the rest. I was prepared to like it but was very disappointed.

To give some up side, you can use it with film, you don't need to record at odd sample rates to do that. A lot of recorders used on films can't record at pulled down rates. If your doing a real audio post, and if your shooting 35mm one should assume you are, then any DAW capable of film post has pull down settings in the preferences. I'm trying to think but I can't remember any DAT that recorded at pull down speeds. I'm sure there was some but on the "big budget" features I was on I never saw a DAT at anything other than 48 or 44.1. It also felt a bit "plasticky" but heck I've been using a Marantz in the field for years with no problems and it's traveled quite a bit nationally and internationally. The R4 should hold up as well as the Marantz. You can drive a truck over the SD recorders and still use them so they are probably a bit of an unfair standard.
 
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Noiz2 said:
the R4Pro... It has no pre record buffer even my lowly Zoom h2 has a pre record buffer.
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You should check out your information better. IT ABSOLUTELY HAS PRE RECORD
Noiz2 said:
There were some others like no track naming, can't remember the rest.
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More disinformation. The R4-Pro has excellent track naming accessible via thumb wheel and you can do it faster than the SD.
Noiz2 said:
price point not too great since you could get a SD recorder for less.
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THE PRICE POINT IS THE ONLY THING THAT MAKES THIS UNIT ATTRACTIVE--for 2K new or less used, there is nothing on the market that touches this rugged rock solid performing machine with superior sound to the 744t. Not the best option for film and video, but THE BEST all around recorder for the much more demanding art of location music recording vs price point.
 
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Nick Walters said:
Just as a note to anyone, I read here about some of the dirty parts in the R-4, and no one has mentioned http://www.oade.com

They can upgrade that and many other recorders so that they're alot cleaner.
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Nick I checked out the Oade Brothers, and I'm excited. Are they including the R44 itself with that Super Mod for 1,045.00? If so that's awesome. only 100.00 more and you have even better preamps. I am reading t right aren't I?
 
Noiz2 said:
A lot of recorders used on films can't record at pulled down rates. If your doing a real audio post, and if your shooting 35mm one should assume you are, then any DAW capable of film post has pull down settings in the preferences. I'm trying to think but I can't remember any DAT that recorded at pull down speeds. I
Click to expand...

Noiz - The R4-Pro, which I have used for 2 years has a pre-record buffer that get's longer the less tracks you use. I believe between 1 - 18 sec, settable in one second intervals.

I've never heard the term "pull down" used in audio terms. I guess that's a film thing. 48k audio is recorded with the R-4 Pro, and that's all one needs. Though 44.1 works just fine in a timeline. It's rare to shoot 35mm film, and here we're dealing with the EX1, which is perfectly comparable with the R-4Pro, or R-44. I think if you can afford to shoot 35mm film you can probably budget in a Sound Devices or some Boutique recorder. Even with the stock preamp the R4pro is pretty nice IMO.
 
Sound Chaser said:
You should check out your information better. IT ABSOLUTELY HAS PRE RECORD
Click to expand...

Not according to their rep OR the literature that was passed out. I'm not trying to bash it, I was actually quite interested till I asked questions and got answers I didn't like.

But looking at their site it looks like I got bad information. Strange since it was directly from the Roland rep.

Sorry about the error. For $2K+ I would still probably go with something else but that does remove one of my major objections.
 
These conversations always crack me up.

10 years ago people would have paid 10 times as much to have one of these units. And any of these units would outperform anything people were recording with 20 years ago and winning Oscars with.

I've recording some absolutely GORGEOUS audio with my R-4. Maybe it's not a sound devices, but it certainly will pass muster for any broadcast channel I am aware of, and it's good enough for any festival I am aware of.
 
Chadfish said:
Noiz - The R4-Pro, which I have used for 2 years has a pre-record buffer that get's longer the less tracks you use. I believe between 1 - 18 sec, settable in one second intervals.

I've never heard the term "pull down" used in audio terms. I guess that's a film thing. 48k audio is recorded with the R-4 Pro, and that's all one needs. Though 44.1 works just fine in a timeline. It's rare to shoot 35mm film, and here we're dealing with the EX1, which is perfectly comparable with the R-4Pro, or R-44. I think if you can afford to shoot 35mm film you can probably budget in a Sound Devices or some Boutique recorder. Even with the stock preamp the R4pro is pretty nice IMO.
Click to expand...

That is actually a very good prerecord buffer if it goes to 18 sec. I had asked the roland rep and he said no, but that apparently was wrong.

Pull down is what happens when you transfer film to video and it's what you do to your audio to have it play in sync with film that has been transferred to video (NTSC). So yes it is a film thing and I was responding to whoever it was that was saying you couldn't use the R44 for film work because it didn't support "pull up" sample rates. Those odd sample rates the poster was talking about are for recording when shooting film that is going to go to video and stay there. They speed up the recording slightly so that when the file is played back at "normal" speed it is slightly slowed down and matches the video speed. As a rule you don't want to do this if your going to end up on film since this is a permanent speed change and the video post of a "film" film is only a temporary speed change. So for a film that will end up on film you shoot at 48 we in post engage the pull down option and all our audio plays slightly slow to match video speed. Then in the final mix when your back to locking to film you flip off the pull down and your playing at 48 and back in sync. You don't have to worry about any of that unless your switching between film and video (NTSC) speeds.

You can get a two track SD recorder for under $2K. I'm not sure what constitutes a "boutique" recorder. I would probably put any open reel deck in that category, but I think your just referring to a professional recorder built for film production work. The R44 Pro is certainly not the low priced spread, though it's also not up in the stratosphere either.
 
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