New Tascam recorder
- Thread starter davefisk
- Start date
JAWflyer3
Well-known member
Nah, I mean individual stereo tracks from each XLR. I doubt either recorder does it but it would be a cool feature to have.
Why would you want that? Just wasted storage. If both sides of the stereo track are the same, why would you need both?
JAWflyer3
Well-known member
guess that is true, always can do it in post.
JAWflyer3
Well-known member
Haha brain fart on my part, totally forgot they were mono. Ignore the question
Do what in post? Dialog tracks are mono tracks. When a mono source is recorded to one side of a stereo track, the unused side is discarded and the side with the source material is centered. I've never duplicated a mono source just to have a stereo track. In fact, the only stereo tracks I use in post are some sound effects and ambience.
As a location sound mixer not doing post my workflow is something like this:
I use a DR-680 which creates up to 4 stereo tracks. Typically I have the boom on the left side of stereo track 1, a lav on the right side of stereo track 1, and lavs on each side of stereo tracks 2 and 3 (track 4 is a mixdown track).
During breaks, and/or at the end of the day, I download to the laptop, and using SD Wave Agent audition the beginning of each file while typing scene, take, and source info into Wave Agent. I hit the button to rename, and now all the files are named for scene, take, and source. I then hit the split button and all files are split into mono files, named for scene, take, and lav #. A little more renaming in explorer and I hand the director a CD with a mono wave file for each scene, take, and source.
My sound log is only used for notes regarding noise, dropped lines, and mis-takes.
I sometimes get calls from editors thanking me.
File management is an integral part of digital filmmaking. It took me the better part of a year to understand how important it was to have data files named and processed appropriately. I learned the hard way when I took on my first audio post job and was handed an SD card with no log and just sequencial file names.
As a location sound mixer not doing post my workflow is something like this:
I use a DR-680 which creates up to 4 stereo tracks. Typically I have the boom on the left side of stereo track 1, a lav on the right side of stereo track 1, and lavs on each side of stereo tracks 2 and 3 (track 4 is a mixdown track).
During breaks, and/or at the end of the day, I download to the laptop, and using SD Wave Agent audition the beginning of each file while typing scene, take, and source info into Wave Agent. I hit the button to rename, and now all the files are named for scene, take, and source. I then hit the split button and all files are split into mono files, named for scene, take, and lav #. A little more renaming in explorer and I hand the director a CD with a mono wave file for each scene, take, and source.
My sound log is only used for notes regarding noise, dropped lines, and mis-takes.
I sometimes get calls from editors thanking me.
File management is an integral part of digital filmmaking. It took me the better part of a year to understand how important it was to have data files named and processed appropriately. I learned the hard way when I took on my first audio post job and was handed an SD card with no log and just sequencial file names.
damianicus
Member
I was told by an Audio guy at B&H that my Rode Stereo Videomic would work in the line-in of the DR-100. But you're right and he was wrong. I got my DR-100 today. My Rode is extremely underpowered in Line-in and that mic has a battery. So now I need a 1/8th to XLR adapter. (Shame cause the H4N has a dedicated 3.5mm jack)
The hop to the camera in theory will give me good audio synced to my video. We'll see though and if the audio from the DR100 is better, it's good to have backup. When I said headphone monitoring I meant from the DR100. The Canons don't have a headphone jack. The only way is to install Magic Lantern and get a special cable to monitor from the USB port
I know this threads about the DR-40, but I'm going to continue to bring up the DR-100 because I'm deciding between the two.
So far the DR-100 is ok. I agree with the above poster that the on-board mics aren't great. And when you select anything in menu, use the wheel to change the value you SHOULD be able to hit select again to confirm and be able to use the wheel to go to something else. The select should confirm and back you out. It does not. You have to hit the menu button after a change and go all the way out then go back in to change a different value. That's just dumb.
The rechargeable battery came nearly dead. I popped in some charged Li-ion and boy did they drain fast. Another gripe, I plugged it into USB and it's charging. I've got access to the files but the DR-100's frozen.. can't use it. If Tascam's trying to compete with the Zoom H4N they need to take some cues as to "why" its owned by most DSLR shooters and let you run it while it's USB charging. Also how do I know when it's charged? Would be nice if the screen had a internal battery level indicator while USB charging but it just says "connected."
Hopefully my DR-40 will arrive this week. I appreciate anyone's feedback on the DR-100 vs DR-40.
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The left arrow will back you from your current selection back to the menu tier, then the wheel will scroll. The left arrow pressed repeatedly will back up up the menu tree. You don't have to hit MENU and start from the top. Once I have the DR-100 configured, I rarely enter the menu system. In fact, although I've used it quite a bit over the last month, I don't think I entered the menu once. The switches provide me with the options I use most.
Regarding the power management and duration. With a full charged internal battery, and a pair of rechargable AAs, I would typically get about two hours of run-time powering a Sennheiser ME-80/K3. I built an external power pack (6v) which powers the DR-100 for about 6 hours.
I guess different ppl use these recorders in different ways. The only thing I use the DR-100 for is portable recording. When I'm back at my desk, I plug in the USB, transfer the files, and go to work on the desktop, leaving the DR-100 plugged in to charge the internal battery. Not being able to operate the DR-100 while it's charging has no impact on my workflow. When the red light goes out, I know the DR-100 is charged.
When I chose the DR-100 over the H4
, the primary selling point was the slightly better preamps, the gain controls on a wheel, rather than button, and the versatile power system.
Regarding the power management and duration. With a full charged internal battery, and a pair of rechargable AAs, I would typically get about two hours of run-time powering a Sennheiser ME-80/K3. I built an external power pack (6v) which powers the DR-100 for about 6 hours.
I guess different ppl use these recorders in different ways. The only thing I use the DR-100 for is portable recording. When I'm back at my desk, I plug in the USB, transfer the files, and go to work on the desktop, leaving the DR-100 plugged in to charge the internal battery. Not being able to operate the DR-100 while it's charging has no impact on my workflow. When the red light goes out, I know the DR-100 is charged.
When I chose the DR-100 over the H4
, the primary selling point was the slightly better preamps, the gain controls on a wheel, rather than button, and the versatile power system.Can you use a 1/8 to 1/4 converter?
Steve House
Veteran
The 1/4 inch input is line level, sort of. It's designed for guitar pickups and keyboards, expecting a signal that is considerably hotter than a normal mic level but not as hot as a true line level. So first of all there's the level problem. Then there's another issue as well. You're tryng to send a Rode Stereo Videomic into a 1/4 mono input. The mic output plug is a 1/8 TRS plug with the left channel on the tip, right channel on the ring, and the sleeve a common ground. A straight through 1/8 to 1/4 converter connects tip to tip, ring to ring, sleeve to sleeve. But the 1/4 input is mono unbalanced TS, expecting signal hot on the tip and ground on sleeve. In the event one used a 1/4 TRS instead of a TS, the ring is unconnected. That means the right channel coming from the mic will be lost. To get both channels from the mic into the single mono track you'd need to wire a custom adapter connecting the tip and ring together on the 1/8 side to send both to the 1/4 tip.
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Sol M.
Veteran
If you really want to go with 1/4" (instead of XLR) with a stereo mic like damianicus, you'd have to use a 1/8" stereo to 1/4" mono Y-splitter to preserve the 2 channels being output by the mic.
You're saying that the line/mic switch on the DR-40 doesn't affect the 1/4" inputs? It's always line in?
Steve House
Veteran
Was referring to the H4n, don't know about the DR-40 but my suspicion is that the 1/4 inputs are line only, simply because 1/4 mic inputs are rarer than hen's teeth these days. Likewise my comments on the levels are for the H4n. The DR-40 online specs state its line-in sensitivity is a nominal +4dBu level, max of +20dBu. That's definitly NOT the case with the Zoom.
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Mitch.Kear
Well-known member
I don't think so, that just would make sense with the build. The switch from line to mic is for both 1/4" and xlr. Hense ext in.
damianicus
Member
I've got concerns now. The Zoom H4N seems better suited to mics like I have with a 3.5mm jack. I'm starting to see why so many DSLR shooters use it. My Rode SVM and VMP are designed to go straight into camera. And my Videomic Pro with +20 gain and Canon 60D manual input set to 1 notch above zero does record pretty well.
It's looking like my only solution with Tascam is a 3.5mm to XLR adapter. I just took my DR-100 to Radio Shack and tried one they had but I got no signal.
I did order this:
http://www.amazon.com/gp/product/B000Y021NA
But unfortunately I didn't put a rush on it (Because someone at B&H said I could plug my Rode into the line-in and be fine) and my shoot is this Friday.
So Tascam's only mic input that's worth a crap is XLR then. And So I guess I have to drop $700 on a good shotgun mic. Not. I'm not a pro audio guy shooting movies. I just wanted to get decent sound for DSLR video that 99% of the time gets uploaded to YouTube.
Or maybe I'll join the croud and get an H4n so I can use my Rodes.
Re: the DR-40, I emailed Tascam directly and asked them why I don't see a AC adapter plug on the unit, and was there a way to control individual channels separately. (You can do this now with the H4N since they did a firmware upgrade)
It's looking like my only solution with Tascam is a 3.5mm to XLR adapter. I just took my DR-100 to Radio Shack and tried one they had but I got no signal.
I did order this:
http://www.amazon.com/gp/product/B000Y021NA
But unfortunately I didn't put a rush on it (Because someone at B&H said I could plug my Rode into the line-in and be fine) and my shoot is this Friday.
So Tascam's only mic input that's worth a crap is XLR then. And So I guess I have to drop $700 on a good shotgun mic. Not. I'm not a pro audio guy shooting movies. I just wanted to get decent sound for DSLR video that 99% of the time gets uploaded to YouTube.
Or maybe I'll join the croud and get an H4n so I can use my Rodes.
Re: the DR-40, I emailed Tascam directly and asked them why I don't see a AC adapter plug on the unit, and was there a way to control individual channels separately. (You can do this now with the H4N since they did a firmware upgrade)
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Danielvilliers
Veteran
It would be nice to know the availability of the dr 40 and R-26. I will have to buy a recorder soon and saw all types of estimate.
JAWflyer3
Well-known member
Sol M.
Veteran
If all you need is recorder than has a 3.5mm mic input, what makes the H4n better than the cheaper devices (H1, H2n, DR-05, DR-07, etc.) for you needs?