Two New WiFi Controllable Recorders from Tascam

WiFi control is cool and all, but I'm more interested in how this compares to the DR-60D overall. What does "Redesigned mic preamp and A/D converters" mean? Interesting, but needs to be tested.

One thing is sure - with these prices and capabilities, JuicedLink must be running scared, or at least should adjust their prices and ideally needs to have a different product mix... you can't charge the prices JL does just for a unit that records to your cam. I'm glad Tascam is shaking up the industry. I mean, we all understand that it's not Sound Devices quality, but for indies Tascam has really stepped up to the plate, plus SD is great and all, but the incorporation of new tech in the form of WiFi control is a step beyond what SD is doing, and if the quality of this new Tascam gear is a step up from what they had before, then frankly, I think with these prices even SD will be threatened. I mean, sure the preamps in the Mixpre-D are superior to the DR-60D, but superior enough for 5 times the price? And if now the "redesigned mic preamp and A/D converters" means a step up in quality, then frankly for the vast majority who already can't tell the difference in quality, it'll be a clear choice... and to be honest, how many can really pick the Mixpre-D over the DR-60D preamps in a blind test? Lets get real here. I'll await user reports, but I've got to say, bravo Tascam for shaking up the field a bit here.
 
I think your missing who SD's customers mostly are. THey are not folks who are recording to hand held recorders and making no budget indies. THough because of their price point they do get some use there, but mostly they are aimed at professionals and as "cool" as WiFi is it's not much use in a professional environment. Not they won't get used by professionals but mostly for the odd FX gathering and maybe some creative plant recorders, or putting them in harms way.

So I don't think SD is worried.
 
Point taken, Scott. Absolutely. Different customer base. But here I'm going to go out on a limb - and I understand we're not going to agree. My suspicion is that the production structure of traditional filmmaking is changing. Cost pressure is tremendous. More and more indie mentality when it comes to cost, gear and production methods is migrating to the traditional studio system. I've watched that happen in TV, where reality-TV production environment is totally different and the emphasis is on "cheap", never mind quality. I've seen it in commercial production, where lighting, cameras and even post-production is moving in the direction of "do it cheaper" and quality is affected... except, the new "cheap look" is becoming the cool look or at least accepted look. Yes, there is the $100 million+ film, but how much work is there for people on those productions? Fewer people and productions means less gear to be sold - how are you going to survive in such a small market that's shrinking - that's what I would ask myself if I were SD. The vast majority of purchased gear is going to be indie, and increasingly so - if I were SD I'd ask myself if I shouldn't address this market, instead of hoping to make a living from an ever smaller market.

Anyhow, this is a derail, so I'll shut up now.
 
To walk off the tracks with you because it is kind of related to this thread OldCorpse (like the name) I have seen the same thing and you are right about industry trend. It actually kind of mirrors the "wealth gap" politicians like to talk about. The mid range films, in the US anyway, are the ones getting squeezed. The mega budgets keep getting bigger and the small budgets get smaller. When I started doing features with a budget we worked about 13 weeks on sound post and a couple of weeks mixing. Some went longer. But this was way down from "the good old days" of the 70's - 80's when they spent a lot longer. Not too many years later at a much bigger facility they were scheduling 6 weeks for post.

However I think you have to look at who SD is competing with. If you look at the $ of other professional grade gear they are VERY competitive.
So the market may shrink a bit but any film with a completion bond needs to be using reliable professional gear. ENG needs to be using pretty decent gear. Though there was that guy posting from a PBS station that was streaming from his phone and using an iPad for video so...

But I wouldn't be too worried if I were SD. They produce for a market that is pretty reliable. If you make a solid reliable product and have good support your customers will stick. Professionals tend to be very brand loyal.

The problem with the consumer market and why if I were SD I would stay as far away from it as possible is that it's VERY trendy. You are going to have to make that MixPre in a variety of colors and there better be a new model with new features every year, and preferably cheaper. Once your in that loop quality takes a dive and marketing drives the car.

Bring in this back home...

SD is basically the bottom (price wise) of the high end gear, and Tascam crosses that line. They have recorders that are SD competitors but they also are a much bigger company that does a lot of prosumer and consumer gear.

Then you have Zoom at the consumer level. Maybe just barely scratching at the bottom of the prosumer level.

Other than price the splits really are over quality and construction. Zoom (all the ones I have used) are pretty fragile and are really made with the idea of disposability (try to have one repaired), Tascam even in their consumer/ prosumer gear is much better built and generally is a good step up in quality, SD gear you can drive a car over, literally. My MixPre is 15 or so years old and I can still send it back of repairs and upgrades. And it's a solid step up in quality.

Folks like Nagra may have more to worry about.
 
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