Tascam DR-60d

WSNProductions

WSNProductions

Member
I just bought the new Tascam dr-60d to connect to my T3i and would appreciate any advice I can get. Basically I need to know whats the best settings to pick up great sounding run and gun audio on location. I usually run my Rode Videomic directly into the camera. Any tips or tricks would help guys. Thanks!


PS: I’m using the Rode NTG-3 as my boom.
 
WSNProductions said:
I just bought the new Tascam dr-60d to connect to my T3i and would appreciate any advice I can get. Basically I need to know whats the best settings to pick up great sounding run and gun audio on location. I usually run my Rode Videomic directly into the camera. Any tips or tricks would help guys. Thanks!


PS: I’m using the Rode NTG-3 as my boom.
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Are you operating the sound yourself?
 
Assuming that you're set to record in 48kHz, 16- or 24-bit WAV, the "best settings" have much more to do with proper mic placement and making sure the levels are set to the source so that dialog is peaking around -12dB.

A mic on the camera is not going to be of much use outside of reference audio, save for nat sound in doc-style b-roll. The boomed mic is going to be your go-to for usable dialog. So, for a one-man-band setup you can set the DR-60D to record n 4-channel mode, record your boomed mic on 1 or 2 and your VideoMic to 3/4. Feed the recorder to the camera for your scratch track.

And, as always, headphone monitoring is key to successful sound recording.

If you have a dedicated sound person (which is a much better way to go), keep the VideoMic on the camera and give your boom op/recordist the recorder. Then, set the recorder for mono recording from input 1 (where you have the NTG-3 connected), and set for dual recording mode to generate the safety track.
 
Last edited:
Alex H. said:
Assuming that you're set to record in 48kHz, 16- or 24-bit WAV, the "best settings" have much more to do with proper mic placement and making sure the levels are set to the source so that dialog is peaking around -12dB.

A mic on the camera is not going to be of much use outside of reference audio, save for nat sound in doc-style b-roll. The boomed mic is going to be your go-to for usable dialog. So, for a one-man-band setup you can set the DR-60D to record n 4-channel mode, record your boomed mic on 1 or 2 and your VideoMic to 3/4. Feed the recorder to the camera for your scratch track.

And, as always, headphone monitoring is key to successful sound recording.

If you have a dedicated sound person (which is a much better way to go), keep the VideoMic on the camera and give your boom op/recordist the recorder. Then, set the recorder for mono recording from input 1 (where you have the NTG-3 connected), and set for dual recording mode to generate the safety track.
Click to expand...

thanks, very helpful.
 
WSNProductions said:
I have a boom operater but I would be handeling the recorder myself.
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Probably not the best idea. You are essentially tethering your operator to you. If the VMP is just for reference why not just go directly into the camera with that and let your operator roam free?
 
I would mostly agree with the "let the boom op roam". I would do that IF I had some practice with the boom op and I knew they had some idea of what to do and some quality standards. If your boom op is an extra that you are repurposing and really doesn't know what they are doing then you kind of need to monitor what they are doing. Of course it would also be a really bad sound choice to have a clueless boom op, but...
 
If your boom op is an extra that you are repurposing and really doesn't know what they are doing then you kind of need to monitor what they are doing. Of course it would also be a really bad sound choice to have a clueless boom op, but...
> +11. I have been offered a PA for boom on a few low budget projects. I always decline, and choose to boom myself... which ain't an ideal situation either but the best option.
 
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