So what do we think of our Tascam DR60Ds?

Yeah, all that will work.

Now, I'm an audio engineer so I know how to "work" with any audio tracks. But seriously, I have no problems at all using these Tascams for dialog.
Sure, you can split hairs and get expensive preamps that sound a tad better right out of the box.... but with EITHER of them I'm still going to be adjusting and improving the audio in post anyway, and once I've done that the differences get VERY slim. Your MICROPHONE choice will make far more difference.
I use AT897s as my shotguns, and the Audix SCX1-HC for indoor dialog. I care more about the mic than the recorder. (as long as it;s not a cheap Zoom.)


I used to deal with dialog recorded on reel-to-reel tape (Nagra recorders) as did the whole world, and these Tascams absolutely get dialog better than those.
 
DpStewart,

Thanks.

I am just going to have to roll with the AT 835b I got. I might get a couple of wired lavs (some are 25ft). I'll make sure to get room tone to provide some insurance for post.

Think 50ft of 3.5mm will be ok to create a scratch track on the video? In another short (different gear), the scratch track was so good, I never had to actually use the original audio.

Many thanks.


Edit: Just re-read your post and saw the "Yeah, all that will work." - my bad. Thanks!
 
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I actually have both the 60D and the 60Dmkii and the 70D, and honestly, I like the 60Dmkii even more than the 70D. It's a totally great recorder. I also have the AT-8035, it's a great mic and the Tascams work well with it. Can't comment on the 50ft 3.5 as I've never tried that.

In getting your gear together, you always have to judge bang for the buck. At this point in time, I believe the best bang for the buck in recorders is the Zoom F8, but that's $1K, so that may be way outside of your budget. It's always a question of how committed you are to the path - the Tascams we're discussing here will absolutely deliver stellar quality for any short, documentary or small feature. But if you are thinking of a bigger production, then I'd go for the Zoom F8.
 
OldcCorpse, thanks for the reply. I already have the DR60. I bought it when it was on sale a while ago but never got to really use it. I know I need to test gear but due to timing, I will have to test it on site. I played with it when I bought it and it seemed to be working fine.

Just want to make sure it will give me decent audio. I used to use a PSC 3 mixer and a tascam DR 40 with an NTG3 and that worked great. But I did some downsizing. Just hoping I won't regret packing the mixer!
 
You will be totally OK with the 60D. I've used it extensively. The only weak points are (1) slightly modest gain even at the highest setting, but with a sensitive mic, you'll be absolutely fine (like the AT-8035), (2) slightly underpowered headphone amp (completely OK most of the time), (3) some people reported that the xlr connectors could get stuck sometimes (if you are using slightly cheaper xlr ones, though neutriks seem fine). All in all, I like the 60D - the only reason I switched to 60Dmkii is because of the somewhat better gain - though again, I've never had an issue with any of my mics on the 60D, and I've used it a lot. Coming from the DR40, you will do a lot better with the 60D - just make sure you have enough juice, cause the Tascams are thirsty.
 
I have the DR-60D, DR-70D and Zoom F8 and if you look at the specs on the Tascam recorders you'll see that the only model that has a low headphone output is the DR-70D. Not sure why Tascam decided to lower the headphone output by 60% with the 70D. This matches my "real world" tests with my 60D and 70D and I had to add an external headphone amp when using the 70D since the output is simply too low to be usable. The Zoom F8 will blow your ears off.

Headphone Output spec comparison

DR-70D - 20mW + 20mW

DR-60D - 50mW + 50mW
DR-60DMKII - 50mW + 50mW
DR-701D - 50mW + 50mW
DR-680MKII - 50mW + 50mW

Zoom F8 - 100mW + 100mW
 
"I use a 50 ft 3.5mm cable with 2 male ends"
- 50 ft unbalanced @ mic level..?? May be too far even for sync track. Not sure, you'll have to try it.
 
Rick R said:
"I use a 50 ft 3.5mm cable with 2 male ends"
- 50 ft unbalanced @ mic level..?? May be too far even for sync track. Not sure, you'll have to try it.
Click to expand...

I am not the brightest when it comes to understanding unbalanced, etc. Is there a better type of cable to go with?

Or would 25ft be better? I really doubt I will be 50 feet away from the camera.

Thanks!
 
The shorter the better.
The general recommendation for unbalanced line level (-10dB) is 10ft or less. FWIW, I've run unbalanced -10dB signals much longer w/o any audible issues with high quaintly Canare cable.
Mic level is the neighborhood of -50dB, a significantly weaker signal than line. I would expect noise, but it may be good enough for a sync reference. If possible, clap slate it as well.
 
I'm deciding between the 60D and 70D. The 70D has a lower profile and, two more XLR inputs, built-in microphones, but the 60D has more physical controls, better headphone jack, and monitoring of individual channels.

What do you all suggest between these two? I'll be using it on a tripod with a DSLR.
 
The nice thing with the 60D is that it has a line out and a camera out. Camera out should prevent overloading the DSLR inputs because it has a level adjustment dial.
 
frugivore said:
I'm deciding between the 60D and 70D. The 70D has a lower profile and, two more XLR inputs, built-in microphones, but the 60D has more physical controls, better headphone jack, and monitoring of individual channels.

What do you all suggest between these two? I'll be using it on a tripod with a DSLR.
Click to expand...

I have both and that difference always kind of grinds me.
There are times when I grab the 60D because I want that instant access to the channel monitors.
I dunno... they are sold as a lower and higher model, but I think they are more parallel because of exactly what you listed.

On a tripod - the shape makes almost no difference.
On a shoulder rig - the flatter 70D can make things easier by offering more ways you can attach it.
 
Greg_E said:
The nice thing with the 60D is that it has a line out and a camera out. Camera out should prevent overloading the DSLR inputs because it has a level adjustment dial.
Click to expand...

This too.

The 70D MUST have a Sescom attenuating cable in between the recorder and camera otherwise you overload the inputs or get too much noise.
 
I also have both - well, technically I have all three, the original 60D, the 60Dmkii, and the 70D. If you are looking to buy, there is no reason to go for the 60D rather than the 60Dmkii, so I'd rather compare the 60Dmkii and 70D. Honestly, unless you need those extra xlr inputs, I'd go with the 60Dmkii - I find myself grabbing it most of the time, and rarely the 70D. The sound quality is the same to my ears (even if on paper the 70D is supposed to have marginally better specs), but the ease of use is dramatically different (to me). I just think the 60Dmkii is so much easier to use - more dedicated manual controls, without having to delve deeper into the menu, like f.ex. the dedicated phantom power button in the 60mkii vs the menu based stuff in the 70D. The form factor might be a consideration if you are looking for very low profile, and that would be of course the 70D - not really a consideration for me personally, but YMMV. One other thing occurs to me - the 70D has two omni mics, which the 60D lacks... I have never used them, but again, YMMV.
 
You shouldn't need to use an attenuation cable for the 70D, output gain is adjustable to mic (cam) or line level and there is a output level adjustment down to -102dB. I have it set cam and -2dB and no problems with my GH4.

Here's how I mount the 60D:

GH4 Tascam Rig.jpg
 
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