New Tascam recorder

[Noiz2]

... For the most part I think if you aren't spending over a grand, including interfaces you will still need a separate pre of some sort to get pro quality. ...

"Pro Quality" these days has a lot to do with UI and incrementally better electronics. The difference classically was much greater on paper than it is today. Out side of the top ranks most recorders are probably using the same converters. The clocking will be more stable and the analog section will be quite a bit better in the mid and up range. That can make a big difference but nothing like the difference between a cheap consumer cassette deck and Nagra was a few years back.

Because of this "pro quality" output is more connected to the sound person than it was. Use a decent preamp and you can go into almost any of the cheap recorders and get a file that people won't know was done on a cheap POS recorder. But the difference between having someone who knows what they are doing recording VS some inexperienced operator is still huge.

The point is getting XYZ recorder is not going to get you "pro quality" tracks. Going out with whatever recorder you have and getting experience will help, working with a pro for a few years will help a huge amount.

It's what marketing types keep trying to hide but the reality is you can't buy experience you have to earn it.

 

[Noiz2]

I hope they have good preamp, unfortunately at this price point I don't think so. Looking at the quality preamp you have nowadays with audio interfaces in the $ 150 to $ 250 range it is a bit sad that we don't have a good field recorder like this one with some good pres at even twice the price.

It may never happen. Analog is more expensive than digital to do right. A lot of parts don't lend themselves to the kind of mass production than can happen with chips. Part of what makes the MixPre shine is the transformers on the inputs. Those are not cheap. Also these small recorders are trying to cram everything into a very small package. The afore mentioned transformers wont fit into a package that small. Good analog sections really need some knowledge on the users part to make them work well and these micro recorders are not aimed at folks with any sound knowledge.

They are aimed at Quick, Easy, and Acceptable. The problem for pros and semi pros is that our level for "Acceptable" is quite a bit higher than that of the target audience who's big "gold standard" for sound quality is iTunes.

 

[prexdealer]

I am definitely looking forward to some actual reviews. Since I mainly just want to boom 1 mic, this might work just depends on how quiet it is. I wonder how quiet it will be. I like the back up recording at lower db.

 

[Allan Black]

IMO they'll sell like hot cakes regardless of the reviews. Newbies around the world who've never used .. or even seen an XLR will spring for the 199 bucks and accessories.
Tascam mics, cables, windscreens, T shirts mugs even raincoats.

Like I said I think this rig is a loss leader.

Cheers.

 

[prexdealer]

Put me down for one raincoat lol! Thanks for the early morning laugh.

 

[J Michael]

Hi Jive, yes I have mine here in the studio to test. I can confirm that the pressing the Tascam DR-40's Input Level + or - adjusts both Left and Right inputs simultaneously. The DR-40's "more expensive cousin", the Tascam DR-100 offers the ability to independently adjust 1 and 2 with a variable spinning knob.

There is a mixer button, 4 o'clock position from Enter. Has Send, Bal, and Lvl settings for 2 or 4 tracks. So looks like a number of controls down in the menus.

 

[Guy_Cochran]

There is a mixer button, 4 o'clock position from Enter. Has Send, Bal, and Lvl settings for 2 or 4 tracks. So looks like a number of controls down in the menus.

The Mixer function only changes the sound coming out of the Line/Headphone output. It does not change the recording.

Video is up. I tested a large diaphragm condenser, shotgun, lav, dynamic handheld, and then a Mackie mixer feeding line level. http://www.dvestore.com/tascam-dr-40-4-channel-digital-audio-recorder-with-xlr-inputs/
I just got in the new Roland R-26, so that is up next...

 

[prexdealer]

Guy, thanks for the video! I appreciate the time you took to try out a few different mics. If you could comment, how did the preamps compare to the Tascam DR100?? You think this would be pretty good for a hobbyist? I don't get the sense this is what you would want to see it on a feature film set, but for shorts, youtube stuff, etc. it seems like it would do fine, right? Thanks for your time.

 

[Chadfish]

Trippy double green screen Guy! Awesome. And at 200.00 this Tascam DR-40 looks sweet!

 

[Mitch.Kear]

Hey guy, great video. How do the onboards sound? The self noise was a little high it seemed. It also looked like there was a lot bleed onto the other track.

Don't be afraid guy, 48 volts won't do a thing to your dynamic mic. Ill buy you a new one if it does.

 

[Chadfish]

It's true, dynamic mics can take it.

 

[JAWflyer3]

I just got in the new Roland R-26, so that is up next...

If you could compair the two of them and write up a little review that'd be phenomenal!

 

[Guy_Cochran]

Guy, thanks for the video! I appreciate the time you took to try out a few different mics. If you could comment, how did the preamps compare to the Tascam DR100?? You think this would be pretty good for a hobbyist? I don't get the sense this is what you would want to see it on a feature film set, but for shorts, youtube stuff, etc. it seems like it would do fine, right? Thanks for your time.

Thanks for the thanks You can hear at the end how much cleaner a mixer sounds with the same mic. A quality mixer really makes a huge difference. So, it's up to you how good of quality that you need. The DR-100 preamps are not much better. So I would rather spend $199 on a DR-40 and use the extra money towards a mixer. That's kind of the cool thing, direct in may be good enough for YouTube videos while you're starting out, then spring for a mixer when the time comes.

Hey guy, great video. How do the onboards sound? The self noise was a little high it seemed. It also looked like there was a lot bleed onto the other track.

Don't be afraid guy, 48 volts won't do a thing to your dynamic mic. Ill buy you a new one if it does.

Thanks. The onboard mics sound decent. I never thought I would like recording the "nat sound" like this, but in the edit, it is nice to have the option of bringing in a bit
of atmosphere. Just need K-TEK to come out with a furry now.
Thanks for the info on the dynamic mics not being affected by 48v Phantom. I have edited that part.

If you could compair the two of them and write up a little review that'd be phenomenal!

I'll most likely just repeat the exact same demo with the R-26. Well, actually, I'm taking requests. You guys write the script, I'll just be the talking head

 

[Chadfish]

Has anyone confirmed if the DR-40 is able to take both line AND mic level into the XLR inputs? Guy?

 

[Mitch.Kear]

Has anyone confirmed if the DR-40 is able to take both line AND mic level into the XLR inputs? Guy?

This is the case Chad. The XLR/1/4" have a switch on the side that go from mic to line or mic +48

 

[Chadfish]

Very nice!

 

[damianicus]

Hi all. After months of research I ordered a DR-100 yesterday. Then today once I discovered it, I ordered a DR-40 too. I've got a DSLR shoot Friday and need good sound so I'm trying to pre-decide which I'm going to keep. Then test both and send one back.

As I said I have a Canon 60D. Until I get better, I've got 2 Rode mics, the SVM and the new VMP. Plan is to record directly into the Tasam line-in or with XLR adapter. Then using a Sescom cable line-out to 60Ds mic in. (http://www.amazon.com/Sescom-LN2MIC...AGFG/ref=sr_1_8?ie=UTF8&qid=1316497996&sr=8-8) And monitor with headphones.

If you were me which would you keep? Provided the recording quality was comparable.

- I wouldn't mind saving $120 on the DR40
- I kinda like the DR40 clean look, assuming most of those DR100 buttons are found in the DR40 menu.
- The DR40 seems a bit lighter. On-rig that's a plus.
- 4 track? doubt I'll use it but who knows

1. What kind of gain control does the DR40 have?
2. The DR40 accepts an AC adapter, but I don't see a hole for it.
3. Does the omni mics of the DR100 record better ambient sound than the directionals?
4. Can I split the 1/8th cable from the Rode Stereo Video mic to the DR40s two XLR/1/4s and get stereo? I need stereo for my shoot Friday. The DR100s line-in is stereo.

Jive, why did you say:

• Separate line-level & headphone outputs (monitor audio without affecting line level output)

Splitting the line-out of the DR40 (one for headphone one for Sescom plug to Canon mic) shouldn't degrade the signal right? I've researched this and heard no it won't.

However, I would guess that the DR-40 does allow setting the levels separately as there are 2 XLR inputs.

Seems dumb if the DR40 can't do this. Though I'd be more concerned if I was using the XLRs for 2 separate mics.

 

[gpforet]

I can't speak to the plan to record directly into the line-in from the mic, seems weird considering you've got "decent" preamps in the DR-100. The hop to the camera won't give you anything, and the idea of monitoring from the camera doesn't seem right considering the lower grade audio components in the 60D. I'd monitor sound directly from the headphone jack of the recorder.

The DR-100 on-boards mics are a bit of a let-down. I recently attempted some race-track recordings using the DR-100 on-board directional mics. After dropping $50 on a Rycote windjammer for the DR-100, I was not very pleased with the on-board mics. They sounded grainy and thin. In addition, with the limited gain available, using the on-boards to record low-level ambient sounds results in a fairly limited signal/noise ratio. Also, using omnis for ambience recording pretty much destroys the stereo image. As a recorder, I really like the DR-100. I've had mine for nearly two years, and have used it for everything from running a boom and lav directly in, to the above scenerio of recording racecars. In my opinion, none of these small recorders perform well with feeding directly from a microphone for dialog recording. There is simply not enough clean gain. This problem goes away with something as simple as a Sound Devices mix-pre in front of the recorder. Wireless lavs are a different story in that the receiver can put out more than enough signal to drive the recorder directly. My main recorder now is the DR-680 and two weeks ago recorded a panel discussion with 4 wireless lavs going directly into the 680's mic inputs, and also having two overhead mics, running thru my Alphamix, and then feeding channels 5 and 6 of the DR-680 (which are balanced line-in inputs). This worked like a champ, and if I was putting my rig together today. I would opt for a Mix-Pre and the 680.

Hi all. After months of research I ordered a DR-100 yesterday. Then today once I discovered it, I ordered a DR-40 too. I've got a DSLR shoot Friday and need good sound so I'm trying to pre-decide which I'm going to keep. Then test both and send one back.

As I said I have a Canon 60D. Until I get better, I've got 2 Rode mics, the SVM and the new VMP. Plan is to record directly into the Tasam line-in or with XLR adapter. Then using a Sescom cable line-out to 60Ds mic in. (http://www.amazon.com/Sescom-LN2MIC...AGFG/ref=sr_1_8?ie=UTF8&qid=1316497996&sr=8-8) And monitor with headphones.

If you were me which would you keep? Provided the recording quality was comparable.

- I wouldn't mind saving $120 on the DR40
- I kinda like the DR40 clean look, assuming most of those DR100 buttons are found in the DR40 menu.
- The DR40 seems a bit lighter. On-rig that's a plus.
- 4 track? doubt I'll use it but who knows

1. What kind of gain control does the DR40 have?
2. The DR40 accepts an AC adapter, but I don't see a hole for it.
3. Does the omni mics of the DR100 record better ambient sound than the directionals?
4. Can I split the 1/8th cable from the Rode Stereo Video mic to the DR40s two XLR/1/4s and get stereo? I need stereo for my shoot Friday. The DR100s line-in is stereo.

Jive, why did you say:



Splitting the line-out of the DR40 (one for headphone one for Sescom plug to Canon mic) shouldn't degrade the signal right? I've researched this and heard no it won't.



Seems dumb if the DR40 can't do this. Though I'd be more concerned if I was using the XLRs for 2 separate mics.

 

[Chadfish]

You are supposed to have a preamp like a Sound Devices MixPre-D feeding your recorders - definately if you plan on using "line in" The line input is wrong for mics. For mics you use the mic level input. The line input needs a much hotter signal, so when you plug a mic in the sound will be too quiet.

IMO Omni mics are useless for a portable recorder. They capture so much from all directions that the effect of stereo is lost. Cardioid mics in an XY pattern, or ORTF pattern, which the DR-40 is is better if you are recording with the built-in mics.

 

[JAWflyer3]

I'll most likely just repeat the exact same demo with the R-26. Well, actually, I'm taking requests. You guys write the script, I'll just be the talking head

That'd be great! If you can, I'd also like to see a comparison between the pre-amps in both, and whether either/or can record separate stereo tracks from each XLR input.