Fostex FR2 vs FR2-LE

A

alexdive

New member
Hi all,
this is my first post in the forum. nice to join your community!

I am starting out buying the equipment needed to get some freelance jobs, and for the portable recorder I am in doubt wether to get a Fostex FR2 that I have found, in mint conditions with accessories (no TC card though) for 400 eur, vs buying a FR2-Le, maybe waiting for one to show up on ebay.

The FR2 is an older unit, but at this price it's appealing because it records 192 khz, it has digital ins abd outs, and one day I could buy the TC card.

The FR2-le is newer though, and that makes me think that the preamps and circuitry could have been upgraded, but I've found no info on internet. FR2-LEs are going for more or less the same price. DO you think I should get the bigger, older FR2 or the newer LE with less features?
Thank you
 
I was researching these two units for my first recorder but I ended up going for a small Marantz unit. From what I've read/heard is that FR2-Le is really decent and in many ways superior to the FR2, the only let down is the plastic casing. There's loads of info online with comparisons between the two you must need better Google-fu. Here's a few links anyway:

http://www.gearslutz.com/board/remo...-location-recording/123348-fostex-fr2-le.html do some searching on that board there's quite a few discussions on it.

http://www.soundonsound.com/sos/mar11/articles/fostex-fr2le.htm Sound On Sound article.
 
Thanks. yes I have read lots of things about the individual recorders, but I still don't get if the FR2 can still be considered superior. I would get one for the same price as a FR2-LE.
Which Marantz? I have been considering getting the PMD-661 but this made me change idea:
http://taperssection.com/index.php?topic=136427.0

"The published specs of the stock 661 shows that it only delivers a dynamic range of 65db through the XLR mic in, and 85db XLR line in, which is 9db short of the 96db dynamic range of 16bit and far short of 24bit capability, so if that is not an issue to you, you can get away without any modifications. This deficiency is due to the noise of the anlog circuits before the A/D stage, btw."

still in doubt...



 
Welcome to DVXUser, Alex!

First, there's a yellow sticky that addresses recorders, though it does put a little more focus on the cheaper, hand-held recorders. Still, you may find some useful information there.

Second, what kind of freelance jobs are you looking to get? If you're truly seeking professional work, TC may be more of a pertinent issue that you need to address sooner. If you're looking for work primarily with indie production and DSLR, then TC isn't as much of a concern. And are two record tracks enough for your intended clients, or do you need to record more than that?

That said, and assuming that 2 tracks will suffice, you might want to look at what kind of deal you can find on a Tascam HD-P2. It comes standard with TC, offers digital i/o, records up to 192kHz, and is a bag-friendly unit. Both the Fostex and the Tascam are solid-state follow-ups to previous DAT models (Fostex PD-2 and Tascam DA-P1). With the portable DAT recorders Fostex had the upper hand, but I feel it's the other way now.

I have an FR2-LE and it really is a wonderful machine. It's my workhorse when I'm working on DSLR shoots or other projects where time code isn't necessary. I rent a TC-capable recorder when I need it. If I had it to do again, though, I would have purchased the HD-P2.

By the way... the likelihood that you'll need 192kHz recording is small. Honestly, it's great for recording FX and other things that may be heavily manipulated in post (especially in terms of pitch and time alteration), but for dialog 24-bit/48kHz should be more than enough.
 
Hey Alex, thanks!
I am aiming to offer my services mostly for artsy stuff and documentaries, indie/DSLR, but for the first project I'll work for the trailer of a feature movie. I actually like the idea of 192 Khz as I have some sound design experience and recording FXs would be great for many applications.
I know it's another category, but I had a Tascam DR-40 before, and I didn't like it, ended up selling it very soon. Instead, for some reasons, during my life I've never been disappointed with Fostex stuff, that's why I thought to remain with them. Also, as I am starting off I don't wanna invest more than 400 for the first recorder.
I like your advice on the FR2-LE, I've mostly read good thing about it. Still, digital in/outs, 192Khz and maybe the possibility of finding a TC card in the future, make me think that I should opt for the FR2. But, it's older and it's battery life seems terrible so I should spend extra money for a battery pack.
 
alexdive said:
I know it's another category, but I had a Tascam DR-40 before, and I didn't like it, ended up selling it very soon. Instead, for some reasons, during my life I've never been disappointed with Fostex stuff, that's why I thought to remain with them.
Click to expand...

I love my DR-40, but I also know where it works and where it does not. Often, I'll see people buy an inexpensive hand-held recorder expecting to get results just like with a professional mixer and high-end recorder, using external mics straight into the device and pushing the recorder into other applications for which it wasn't designed or intended. Don't blame the recorder. I keep my DR-40 in the kit alongside the FR2-LE and it has been a lifesaver in several situations.

Primarily, I use it to grab ambient sound beds and other wild sounds when production breaks or the shots are MOS. Sometimes I'll even go back to the location later (or to a similar location, or a better-sounding one) to get what I need. I've also run it as a backup recorder feeding it from my mixer and it's been useful there, too.

alexdive said:
Also, as I am starting off I don't wanna invest more than 400 for the first recorder.
I like your advice on the FR2-LE, I've mostly read good thing about it. Still, digital in/outs, 192Khz and maybe the possibility of finding a TC card in the future, make me think that I should opt for the FR2. But, it's older and it's battery life seems terrible so I should spend extra money for a battery pack.
Click to expand...

There's an old adage, "Buy once, cry once." It plays off the other, "You get what you pay for." In other words, if you buy cheaper now and get something that may or may not serve you long enough, or may break quickly, or won't grow with your experience and freelance work, that's money wasted and you end up paying more in the long term as you have to replace gear over and over again. If you can afford to get something now that is forward-thinking and suited to grow a little with you... yeah, the initial purchase may sting a little, but think about your gear as a long-term career investment and go with what will get you the most productive mileage.

Also, the FR2 has been discontinued. That means that your chances of finding the TC card later aren't good, and the more time that passes the lesser the chance.
 
I think I posted in some detail, years ago, about what I had a problem with on the FR. I was testing with a friend, she had one on trial, who does radio documentaries. I do remember two big points were the very hard to read meters and the biggie for here was that there wasn't enough gain in the preamps. She uses a Schoeps, it's the hotter version and she was still pushing the gain WAY up to get decent levels.

She ended up returning it and getting a Sound Devices recorder, which she likes quite a bit. I like their quality but find my self fighting with the very compact layout and large menu system.

You might be enamored with 196 but practically speaking I would not put too much weight on having it. Post will hate you if you deliver production in 196 and really your not recording anything up there but internal noise. There are not many mics rated up to 98kHz, probably none that you can get your hands on. So what you are recording up there is not coming in through the mic capsule. It is useful if your going to slow stuff down, because it does get "grainy" slower, but not much.
 
If you want TC for future jobs, then get a Tascam HD-P2, or wait until you can afford an SD recorder or similar.

If TC is not a priority right now, then have you considered buying a small mixer like the mixpre, and go in to a small handheld recorder? The cost is not much more (especially if you can find a used mixer), and the mixer will have good preamps, limiters, filters, and metering. You will likely want to upgrade the recorder after some time regardless of what you get, but a mixer will always be useful.

If you want an opinion regarding the FR2 and the FR2-LE, consider also the form factor and how it will be used. The FR2 is much more bag-friendly, so if this is an "over-the shoulder" job, I would opt for the FR2 or HD-P2.
 
Thanks again everybody. Yes, about 192Khz It's mostly to pitch down/time expand up to 4x keeping CD quality.
The DR-40 I had, was used for some interviews with a sennheiser lav.
Alex, I think I'll end up getting the FR2-LE. I know exactly the "get what you pay for", because this sound recordist job will be more of a hobby, and for my main job I just buy high end equipment. it's nice to have a base model with expansion options, but it looks like this TC card for the FR2 would be a not such a great buy nowadays for this old recorder. it's really expensive too!
If I get in some productions where I need more, I'll rent the SDs and see if it's worth buying them.
 
alexdive said:
Yes, about 192Khz It's mostly to pitch down/time expand up to 4x keeping CD quality.
Click to expand...

That is VERY misleading. It's not "CD quality" just "about" CD sample rate. It is worth it for pitching down but you are pulling the sound apart and you will get some of that. Also you will be pitching down the noise you were not hearing (because you can't hear over about 20K - even if your young and haven't used earbuds...). So it's not all gravy, but it does sound smoother than a 48k sound pitched down. Usually. A number of boxes like the old E4 were very smooth at pitching down. And Soundminer is also very smooth at slowing sounds down.

But as generally skeptical as I am about high sample rates I do record at higher rates for things I know I will want to pitch down.
 
I had an FR-2 for several years and have also tried the FR-2LE. I wrote reviews on both of these fro LineUp magazine and also on the latter for Sound On Sound.

My FR-2LE reviews are on-line, but not the original R-2.

I did like the original FR-2 and do prefer it over the LE version - I only sold it on when I upgraded to a high quality recorder (Nagra VI and AETA 4MinX).
 
You must log in or register to reply here.
Back
Top