Tascam Hd-P2
- Thread starter mlemaudit
- Start date
SMuir
Well-known member
You should be able to feed a camera with the unballanced line-out from the HD-P2. I'm uncertain whether there's any latency, so you'll want to check that first. The fact that the line-out is unballanced could be a bit of an issue, because that'll leave you wide open to any line hum that would otherwise be shrugged off by ballanced lines; keep those RCA lines as short as possible.
You'll want to load a pre-recorded line-up tone (eg. 30 seconds of 600 Hz Sine tone at -12 dB full-scale) into the recorder before-hand, so you'll be able to callibrate your camera input levels. Additionally, the recorder will probably have to be in standby or record mode to pass audio to the camera, and you'll still have to run a seperate headphone return (so that you can monitor the camera's headphone output).
Bob15489's right about the SD302, though. Production mixers tend to have far better preamps and limiter than entry level portable recorders, and ballanced output lines are essential for long cable runs. The SD302 will also take more of a beating than the HD-P2, provide you with T-power, add a third mic channel, and give you far more ergonomic access to all the necessary controls.
If you're plan is to use the HD-P2 as a primary recorder and the camera as a backup, you really ought to bring along both a mixer and a recorder. For example, my old PSC M4 mkII gives me both a ENG snake output for the camera, and a pair of XLR outputs that I use to feed my Fostex FR-2. The ENG snake carries both a ballanced stereo line and a stereo headphone return, and the breakaway section makes it much easier to disengage myself between shots. My only minor quibble is that although its easy enough to switch between the mixer's headphone monitoring to the camera's (the M4's "tape/direct" switch), I have to physically unplug my headphones and plug them into the FR-2's headphone output to monitor my primary recorder.
One of these days, I'll build a little A/B switch to resolve that issue, but in the meantime I'll get by alright.
You'll want to load a pre-recorded line-up tone (eg. 30 seconds of 600 Hz Sine tone at -12 dB full-scale) into the recorder before-hand, so you'll be able to callibrate your camera input levels. Additionally, the recorder will probably have to be in standby or record mode to pass audio to the camera, and you'll still have to run a seperate headphone return (so that you can monitor the camera's headphone output).
Bob15489's right about the SD302, though. Production mixers tend to have far better preamps and limiter than entry level portable recorders, and ballanced output lines are essential for long cable runs. The SD302 will also take more of a beating than the HD-P2, provide you with T-power, add a third mic channel, and give you far more ergonomic access to all the necessary controls.
If you're plan is to use the HD-P2 as a primary recorder and the camera as a backup, you really ought to bring along both a mixer and a recorder. For example, my old PSC M4 mkII gives me both a ENG snake output for the camera, and a pair of XLR outputs that I use to feed my Fostex FR-2. The ENG snake carries both a ballanced stereo line and a stereo headphone return, and the breakaway section makes it much easier to disengage myself between shots. My only minor quibble is that although its easy enough to switch between the mixer's headphone monitoring to the camera's (the M4's "tape/direct" switch), I have to physically unplug my headphones and plug them into the FR-2's headphone output to monitor my primary recorder.
One of these days, I'll build a little A/B switch to resolve that issue, but in the meantime I'll get by alright.