Which mics DO work well with a Tascam DR40?

jamedia.uk

jamedia.uk

Well-known member
Yes I have searched the forum and there are no recent threads on this (just a lot of threads wondering why *** mic does not work with a DR40)

I am primarily doing corporate video, interviews, conferences etc. I have a Panasonic AC-AG90, which works well with the Rode NGT1 and Reporter mics. (also a Sennheiser radio mic). However I also use a Tascam DR40 and a Scarlett 2i2 audio interface for additional audio and some interviews. Both the Rode mics have an output which is a bit low for the DR40. As everyone says the DR40 has pre-amps that match the cost of the unit. :Drogar-Mad(DBG):

I have seen FetHead preamp from Triton Audio which will boost the signal on the XLR line but I wondered if there were more powerful mics out there that will work well with the DR40.

My question is what Microphones has anyone found that do have a hot enough output to work well with a DR40?
 
jagraphics said:
My question is what Microphones has anyone found that do have a hot enough output to work well with a DR40?
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While I don't use my DR40 directly with XLR mics any more, I've had good results using Audio Technica small diaphragm condenser mics. ( AT3031, AT4053b, etc... )
 
Generally, mics with a sensitivity/output of 15mV or better would be preferred. But of course it really depends on the source SPL on how much gain is needed. The newer Tascams' have more gain available. Still a budget item, and 'ya get what ya pay fer'. The DR-40's HP amp is pretty anemic as well, which will add monitoring noise.
> Same as Dingo, I've used a DR40 a few times as well, but always with an external mixer via line in.
 
I can't speak directly about the ntg1 except that the ntg3 is significantly hotter. Why are you using the Tascam when you could be recording direct to cam? This would solve most, if not all of your gain issues. And for interviews, give you very decent audio.

Instead of looking for mic upgrades to suit a cheap recorder, a much better solution would be to add a quality mixer into the chain. Either a MixpreD or a SD302 would eliminate all your gain issues, even with dynamic interview mics, and give you great metering, great limiters, great sounding preamps and allow you to feed line in to either your cam or the dr40.
 
ggrantly said:
I can't speak directly about the ntg1 except that the ntg3 is significantly hotter. Why are you using the Tascam when you could be recording direct to cam? This would solve most, if not all of your gain issues. And for interviews, give you very decent audio.
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I am recording direct to camera but some of it is audio only hence theDR40. I don't want to lug a camera about just to record the audio. Also those mixers are not exactly cheap. The SD302 appears to cost more than the ac90!
 
"The SD302 appears to cost more than the ac90!"
The SD Mixpre or MP1/MM1is a little less costly than the 302. Again 'ya get what ya pay fer'.
Though it's not a substitute for lack of skills
 
jagraphics said:
I am recording direct to camera but some of it is audio only hence theDR40. I don't want to lug a camera about just to record the audio. Also those mixers are not exactly cheap. The SD302 appears to cost more than the ac90!
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As has been pointed out here and other boards, your audio investment can easily match or surpass your video investment.

I don't know about UK pricing, but a used Mixpre, the original model, should sell for less than a NTG3 at about $700 USD. The NTG3 is probably the least expensive shotgun which will have a significantly hotter-better output than your NTG1.

If you are going to up your audio game, a mixer is IMHO, the first and best step. It will make everything you do sound better.
 
Thanks for the advice. I do understand that audio is (more than?) 50% of the game and should be treated as important as the video.

NGT3 looks like a good bet but I was more interested in a reporter type mic. In other places I was seeing people recommend things like the Sure SM58 and others of that ilk. However these seem more aimed at singers. Not for interview use. I am looking for a mic where I am recording an interview (audio only) into my Mac (via a Scarlett 2i2) or the Dr40
 
jagraphics said:
I was more interested in a reporter type mic
Click to expand...

Here are two "reporter" style mics that I've worked with. Both of them require a good mic preamp as they are dynamic mics and don't put out a strong signal...

Electro-Voice RE50N/D-B Omni-Directional Handheld Dynamic N/DYM Shock Mounted ENG Mic

Sennheiser MD 46 - Cardioid Handheld Dynamic ENG Microphone


One other mic that I've worked with when shooting "man on the street" interviews is this one...

Sennheiser ew 135-p G3 Wireless Microphone System with 835 Handheld Mic - A (516-558 MHz)

What I like about this Sennheiser UHF mic is : no cable to take care of, it's a fairly directional cardioid condenser mic so it's easy to avoid street noise if aimed correctly, it puts out a super strong and adjustable signal. I've never had any issues with radio interference using this mic.

Here's a short interview I shot using this mic with my old GH2 camera. I was recording "blind" as I had no way of monitoring the audio with my GH2, but I had used this set-up so many times that I had all the settings down pat.

Ronnie Burkett Interview
 
The most popular reporter's mic in the USA is undoubtedly the EV RE50. The newer RE50N/D (N/DYM) models have a higher output, better shock mounting/less handling noise and wind suppression than the standard model. The Sennheiser MD42 & 46 are great mics as well and worthy of consideration. Most reporter's mics are dynamic omni. The MD46 is cardioid but more designed for reporting... unlike the Shure SM58 which is primarily a live performance vocal mic.
 
Can't speak for all the dynamic interview mics just mentioned, but I do have the RE50/ND. This is a very good mic, but simply does not have a very hot signal, most dynamic mics don't. When trying to use this mic with a Tascam DR100, it comes up short. Can't say if the preamps in the DR40 are better than the 100, but probably not enough to be significant.

Once again, I think it would be a fools errand to base your future audio scheme on a very cheap recorder. The exception to this would be when using it as a bit bucket via line in, with a mixer in front. Another possibility, and less expensive than a mixer would be improve your recorder. A Tascam DR680 has much stronger preamps and can effectively mix 1-2 channels as a stand alone unit. There maybe other units with stronger preamps as well.
 
So the answer is that in reality no mic is going to be hot enough to drive a DR40 sensibly. I got the DR40 as a replacement for a cheap(er) digital/memo recorder rather than a main audio input and saw the XLR inputs as an added bonus. As Tascam put the XLR inputs on the DR40 they must have tested and use it with something?
 
As others said it depends on what you are recording. Handhelds were designed for musicians, to do easy test recording, grab a concert recording etc. That is a world away from dialog recording in a film situation. You can use a screwdriver as a chisel in a pinch but it's not a chisel and won't be a particularly good one.

Nobody is saying you can't use mic X with the DR40, just that hotter mics are going to work better for film production work. I have used Oktava's and a variety of Dynamic mics with the DR40 and have not had any issues. But I was not shooting dialog either. I recorded a piano with it and levels were in a very happy place, I've recorded FX and not an issue. I wouldn't be using it for production work in the first place because of the form factor, small buttons and not a very big display, awkward to use in a bag, etc. Also on budget recorders I will use a preamp generally. Not usually with the DR40 since if I'm using it is either because I wanted to minimise gear or i tossed it in a bag and am using it because it was there when something fun stated to happen.

So I am sure Tascam tested the DR40 in the areas that it was designed to be used. The gain is probably deliberately on the low side so you can record your bands 190dB rehearsal with out clipping. Great for the band not so great when you are trying to squeeze some usable dialog out of a budget shotgun when the director has blocked you into a position where you can't get a mic very close to the subject.
 
Well, the price is good, but the rest will depend on what mic you use. First, it doesn't seem to pass through phantom power, so you will be limited to dynamic mics. Second, it is a fixed amount of gain at 22db which is an ok number for some basic gain boost, but will be very limiting.

See this review:
https://www.gearslutz.com/board/reviews/866008-triton-audio-fethead.html

The gold standard for a mic preamp is the SD MM-1 with everything you could want:
http://www.bhphotovideo.com/c/produ...evices_MM_1_MM_1_Single_Channel_Portable.html

I know you are trying to get out of this on the cheap, just realize that anything cheap is going to present compromise in the field.

So when you are in the field recording interviews, without your cam, have you considered using the recorders built in mics? Still a compromise, but you might get better gain structure.
 
Thanks for all the advice. In short buying cheap does not work.... but we all knew that :-)

Why put all the bells and whistles on the DR40 and then compromise on the preamps? To be fair I bought the DR40 to replace a digital-memo or dictaphone device (because I can't read my own notes :-) and hoped it would do more with the XLR inputs.

So far I have been using it with the built in mics which are are quite good I was just looking for some additional flexibility and options.


With a Rode Reporter I am probably just as well getting a fethead. It looks like it will also help with my Focusrite Scarlett 2i2. though the pre-amops on that are a lot better than the DR40.
 
I now have a Triton Audio fethead and it seems to do the trick with the Rode Reporter and the Tascam DR40. Clean sound at a far lower level setting on the DR40 so no hiss or noise. Helps with the Scarlett 2i2 as well though the pre-amps in that are better. IT will do until I can afford something better.

Once again thanks for the help and suggestions from everyone.
 
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The DR-40 has inherently sub-grade mic preamps (you-gets-what-you-pays-fer) The +4dB line-in however is very clean.
 
I would also point out that the "bells and whistles" are things like a guitar tuner, which kind of tells you who it was aimed at.
 
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