kwkeirstead
Well-known member
Check out http://www.bhphotovideo.com/c/produ...wsletter-_-140218-_-Body_Retail_Tascam-DR-60D
B&H has a promo on the DR-60 d (starting today) - $184.99.
I have a Tascam Dr 100 Mk II which has been great for me as a backup.
No clue how this compares to the DR-60D (it costs about $35 more) but the thing is the promo includes Plural Eyes which on its own costs about as much as the DR 60d
Neither these solve my problem of primary sound at the camera.
The bottom line for me is I need a box that can take signals from mics or from a sound board and somehow widen the range of sound coming into my AG-AC160A.
Right now, I probably have to make 100 volume adjustments at the little dials on the camera over a 2-hour recording session. I do stage events where at times you have one person almost whispering (no bars at the meter) then a minute later you have 10 people on stage yelling.
I keep the sound just below the reference bar so that I don't red line but all of this is very tedious.
I am wondering if I should just ignore the settings when the meter shows no bars. But I have tried this a few times and I get nothing.
Up to now I have used my Tascam only as a backup as I don't have Plural Eyes. Wondering if a 2nd field recorder one set to high gain, the other to low, would be a solution but is seems like a lot of trouble to go to.
Surely there is solution where a one trick pony can handle incoming sound - I cannot rely on sound boards as the sound folks are different each time - they sometimes put the music above the speakers, then at other times it's the reverse. I cannot set up 6 mics and do my own mix.
What's reasonable and what's not reasonable?
My preference is to attend to the camera, not sound.
Any suggestions?
B&H has a promo on the DR-60 d (starting today) - $184.99.
I have a Tascam Dr 100 Mk II which has been great for me as a backup.
No clue how this compares to the DR-60D (it costs about $35 more) but the thing is the promo includes Plural Eyes which on its own costs about as much as the DR 60d
Neither these solve my problem of primary sound at the camera.
The bottom line for me is I need a box that can take signals from mics or from a sound board and somehow widen the range of sound coming into my AG-AC160A.
Right now, I probably have to make 100 volume adjustments at the little dials on the camera over a 2-hour recording session. I do stage events where at times you have one person almost whispering (no bars at the meter) then a minute later you have 10 people on stage yelling.
I keep the sound just below the reference bar so that I don't red line but all of this is very tedious.
I am wondering if I should just ignore the settings when the meter shows no bars. But I have tried this a few times and I get nothing.
Up to now I have used my Tascam only as a backup as I don't have Plural Eyes. Wondering if a 2nd field recorder one set to high gain, the other to low, would be a solution but is seems like a lot of trouble to go to.
Surely there is solution where a one trick pony can handle incoming sound - I cannot rely on sound boards as the sound folks are different each time - they sometimes put the music above the speakers, then at other times it's the reverse. I cannot set up 6 mics and do my own mix.
What's reasonable and what's not reasonable?
My preference is to attend to the camera, not sound.
Any suggestions?
