Audio media recorders guide 2013

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Audio Media magazine's Recorders' Guide 2013 // Audio Media dergisinin 2013 Kayıt Cihazları kitapçığı (ingilizce)

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Audio media recorders guide 2013

  1. 1. THE INTERNATIONAL BUYER’S GUIDE A S P E C I A L P R O M O T I O N A L P U B L I C AT I O N F R O M T H E N E W B AY M E D I A G R O U PRECORDERS 2013 P RO D UCE D BY AUDIO MEDIA In association with:I N T E R N AT I O N A L E D I T I O N
  2. 2. FouR good REAsoNs whY Youd  NEvER wANT To usE A CoMPuTER  AT A LIvE show BLACKBOX BBR64-MAdI RECoRdER Designed for a range of applications requiring the capture of multiple channels of live audio material with minimum fuss, including Live Music, Broadcast, Film & TV Sound. • 64 channels in one rack unit! • Audio recorded direct to external USB2 drive in BWAV format • USB drive plugs straight into workstation for instant editing, mixing and post production BLACKBOX BBR64-dANTE RECoRdER Designed for capturing multiple channels of live audio material via Dante network. Applications in Live Music, Broadcast, Film & TV Sound. • 64 channels in one rack unit! • Audio recorded direct to external USB2 drive in BWAV format • USB drive plugs straight into workstation for instant editing, mixing and post production BLACKBOX BBR1 RECoRdER Unique technology lets you capture live multi-channel audio without taking a computer or DAW to the performance. Robust, rugged, rack-mounted and ready to record. • 24 channels in one rack unit! • Analogue and digital i/o options • Audio recorded direct to external USB2 drive in BWAV format • USB drive plugs straight into workstation for instant editing, mixing and post production BLACKBOX PLAYER Dedicated multi-channel playback option specifically designed to replay backing tracks and multiple surround stems for live shows and themed entertainment. • 24 channel playback in one rack unit! • Analogue and digital i/o options • Synchronous playback to timecode • Available as plug-in for BlackBox Recordertel: +44 (0) 1223 911 000info@joeco.co.ukwww.joeco.co.uk Multi-track technology for the 21st century
  3. 3. Welcome to Recorders 2013, an international contents Buyer’s Guide. We’ve been busy rooting around the professional recorder ranges to bring you a4 Portable Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . healthy stack of options in the recorder genre. This publication is a collection of promotional articles looking at six of the world’s leading recorder manufacturers and their product ranges. Inside you’ll find the stories behind the gear – the ethos’ and design ethics that go into producing one of the key components in professional audio – and plenty of info on the products themselves. In addition we’ve collated a directory of professional recorder manufacturers and 8 AETA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . commissioned an article that takes a fresh look at the basics of the audio recorder world. Even through the rise of the DAW, the need for reliable, high quality, and feature-rich recording devices has never gone away – as confirmed by the recent peak in new models, especially for the location recordist and audio journalist. New media types have accelerated development and now you can choose CD, hard disk, DVD, and solid state types to suit your needs and your budget. There’s also a vast array of audio file formats to handle, each one bringing the benefit10 Mayah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . of choice in data economy, audio quality, archive suitability, and more. Even newspapers and other print-based media are finding the need for suitable recording devices now that podcast and multimedia channels are becoming a necessary part of everyday content provision. Are you a Foley editor? Are you a production recordist? Are you a new media journalist? Are you a broadcast professional? Are you a sound designer? All of these roles14 Roland Systems Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . and more require the best in recorder technology to make your job easier and your results better. Do you know what functions, facilities, and frills are available nowadays? Wouldn’t you like a large choice put right in front of you, rather than starting your hunt through the normal myriad of sales and dealer channels? This guide is the place to start your recorder shopping spree. This, and the other Buyers Guides in the series (Monitors, Microphones, Consoles, Live Sound Technology, Live Sound16 Sound Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Applications, and DAWs) are Audio Media projects, designed to help you find your way though the information explosion and find the product that suits your needs. Audio Media is an internationally distributed magazine that deals with professional audio production in film, TV, radio, music, games, and on stage. It’s available in both print and digital editions. For more details, go to www.audiomedia.com. The NewBay Team18 Yellowtec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0)1354 669960 - Fax: +44 (0)1354 669965 Sales Manager Editorial Manager (Europe) Graham Kirk Lanna Marshall g.kirk@audiomedia.com l.marshall@audiomedia.com Editor In Chief Design & Production Manager Paul Mac John-Paul Shirreffs20 Zaxcom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.mac@audiomedia.com jp.shirreffs@audiomedia.com www.nbmedia.com22 Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. © 2012 NewBay Media. All rights reserved.
  4. 4. recorders 2013Portable RecordersIn my day I’ve recorded on location using critical recordings inNagra reel-to reel tape recorders, Walkman- challenging locations.style cassette recorders, portable DAT (Digital However, some ofAudio Tape) machines and, on one memorable the least expensiveoccasion, I captured the performance of retired recorders are stuffedmembers of the BBC big band on a Sony PCM to the gills with bells andF1 system connected to the noisiest Betamax whistles, and many feature multi-recorder in the world. These portable systems microphone and multi-track capabilities,often had several things in common – they were along with the ability to work at high sampleactually not that portable and usually needed rates and generate 24-bit files.external microphones or mains power supplies Apart from being able to be easily extremeto achieve anything like acceptable results. transported to the recording location, there portability,The advent of direct to data recording means are several features that all portable recorders these devices arethat the current crop of portable systems are… have to have to be truly useful in the field. useful for interviews and in discretewell… more portable and, just as Solid state drives mean that the power location recording. I’ve been extremelyimportantly, means that even consumption of the audio capture parts impressed with the results from the Zoom H4n,the least expensive systems of the device is usually pretty low, Olympus LS5 and Tascam DR07 recorders whencan produce high quality so standard batteries are usually used to capture both music and environmentalrecordings and cope with useable – and many come with recording. One common characteristic of thethe longest performances. built-in rechargeable cells least expensive recorders is that they often that can provide hours of rely heavily on screen menu-based systems toBack To Basics recording time. Audio is access their often-sophisticated feature set and,There are many portable/ relatively meagre in because of their small size, it’s not always easylocation recording devices on the its demand of drive for aging eyes to navigate the menus.market and the range runs from space, so multi- Once set up though, level and transport buttonsextremely inexpensive dictaphone- gigabyte Secure are usually easily accessible – although makingstyle stereo recorders to rugged multi- Digital (SD) or changes to sample rate and file formats couldchannel devices designed for capturing Compact Flash prove frustrating when the pressure is on.audio for music, film, and television on set. (CF) cards These recorders often feature auto recordingAs is often the case, higher cost usually brings or hard drives start after a set level threshold is reached,higher quality, and, with regard to portable can capture hours file editing, built in compressors, limiters, andrecorders this often results in improved on- of stereo or multi-track automatic level control (ALC – shades of myboard microphones and their pre-amplifiers, audio direct to data in various old Phillips cassette recorder there!), which canhigh quality headphone amplifiers, and better audio formats including MP3. Off-loading your be extremely useful when you’re capturingbuild quality – which is extremely important recordings is then a simple matter of connecting unknown sources.if you’re going to be performing mission the device via USB to a computer, or popping Some of these devices don’t only do out the card and inserting it into your Mac or PC audio; the Zoom Q3 is actually a pretty nice either directly or via a dedicated card dongle. HD video camera hitched onto a high-quality The most basic systems offer just stereo recorder. I often capture lectures and two-track stereo recording and utilise in- performances with the ALC switched on and I’m built microphones, usually in an X-Y always impressed with the audio quality such a configuration, and record directly to simple set-up can produce. The Zoom H2n allows SD cards. Others can record at up you to record in several modes, XY stereo, two- to 96kHz sample rates and often and four-channel surround, and in Mid-Side, all feature a 3.5mm stereo jack wrapped up in a small lightweight package. input for connecting external Speaking of weight, quite a few low cost microphones – many of recorders suffer from handling noise issues, which provide power for but I find that screwing in an inexpensive condenser and back-electret tabletop tripod and using it as a pistol grip devices. Characterised by their solves this problem.4 PORTABLE RECORDERS
  5. 5. COMPAC T STUDIOS www.tascam.co.uk | www.tascam-europe.comEven more Portastudio than ever beforeDP-32: The 32-track luxury class among Portastudios 32 audio tracks (8 mono, 12 stereo), best-take function with additional virtual tracks, 40 channels during mix- down (32 playback channels + 8 input channels), dynamic and send effects, mastering effects including EQ, compres- sion and normalisation, CD burner for mastering and backup, intuitive ease of operation …DP-24 DP-0324 tracks on SD/SDHC card, high-contrast LC colour display, dynamic 8 tracks + stereo master track on SD/SDHC card, built-in stereoand send effects, dedicated controls for direct access to EQ, panorama condenser microphone, 2 XLR inputs with phantom power, reverband effect send channel, CD burner for mastering and backup … processor plus mastering effects, CD burner for mastering and backup …© 2012 TEAC Corporation. All rights reserved.All specifications are subject to change without notice. TEAC UK Limited Suites 19 & 20, Building 6 | Croxley Green Business Park | Hatters Lane | Watford | Hertfordshire WD18 8TE | UK Southern Area Sales Manager: Alex Farrell | Mobile: 07779-795656 | Mail: alex.farrell@tascam.co.uk Northern Area Sales Manager: Russ Fitton | Mobile: 07836-329281 | Mail: russ.fitton@tascam.co.uk | www.tascam.co.uk
  6. 6. important in any situation or Sennheiser microphones on location. This is where peering at tiny a trend that we see in the higher-end portable menus might be an recorder market, and one which makes a lot of issue. In my opinion, sense as you’re unlikely to be able to mount the microphones the recorder itself near the source and will and pre-amplifiers on usually be using a boom or radio microphones. the DR100 are also The Sound Devices 702 also exemplifies this significantly better than philosophy and is housed in a thoroughly those on the really low rugged case and features a high resolution cost devices, as are those on the Marantz LED display, clear metering, and dedicated PMD661 and Olympus LS100 and the controls for the most used functions. Some recorders, such as the Zoom H4n, Sony PCM D50 – the latter having Sound Devices’ microphone can record two channels via their internal the advantage of two microphone pre-amplifiers are amongst the microphones while simultaneously capturing pattern choices. Adding all these best in the business, and what two more via their XLR inputs. The H4n can dedicated controls inevitably you’re effectively getting here also act as a multi-track recorder, Mid-Side increases the size and weight of is a set of boutique-grade pre- decoder, and can also be used as a basic USB the device and most would need amplifiers coupled to a solid audio interface with a computer. The Zoom’s very big pockets for transport, so state SD card-based recording microphones are set in a close X-Y configuration you’ll need to use a carry case system. The ‘T’ version can also that attempts to limit any phase issues when for them. But the advantage that handle timecode, while the 722 recording, while the Tascam DR40 offers a novel this increase in size brings in is model records directly to a hard microphone set-up that allows you to move in low handling noise levels, ease drive – I predict though that the microphones from a X-Y to an A-B setting of use, and a feeling of quality the boundaries between HD – and it also has a four-track capability and that might have the unexpected recording and SD and Compact XLR microphone inputs. The Roland (Edirol) 09 consequence of increasing the Flash recording will blur in the builds on the successful R-1 and R-2 recorders confidence your director has in future with manufacturers and provides most of the features we’ve come your abilities! moving to Solid State Drives (SSD) to expect from these devices, Professional when ultra-long or multi-channel but in an extremely compact recordists will find that recording times are needed. package – and it also comes the most important features on Speaking of Compact Flash, Tascam (which in red! their portable recorders will be arguably started all this ‘recording to card’ clear metering, dedicated controls malarkey in the first place) produces the SS- On Set for setting for record and playback R200 rack mount stereo audio recorder that, Move up the food chain levels, along with other controls apart from utilising the aforementioned storage and portable recorders for useful day to day functions method, is a high quality audio recorder with start appear with two such as transport and limiting. brightly lit chunky transport buttons and clear extremely useful features; Also important is a high-quality metering and display – perfect for use next to XLR microphone inputs and/ headphone output, and physical a console on a dim stage. Apart from balanced or better ergonomic design. reliability and ruggedness. analogue and digital inputs and outputs, the The aforementioned Zoom The Nagra LB is a two-channel SS-R200 accepts an IBM compatible keyboard, H4n is extremely popular with digital recorder that takes this and a dedicated Tascam remote is also both environmental recordists philosophy and runs with it. included. Unusually, there are also RS232 and and on-set sound engineers Built into a case that would parallel interfaces for direct computer control and, consequently, there’s survive being run over by Steven of the device. On lifting the Marantz PMD 671 a large add-on industry that Segal in a Boeing 747, it’s a out of its box I was overwhelmed by a strong has built up around the device. These include two-channel recorder with a huge, easy to sense of nostalgia for my old portable compact professional windshields, and my favourite read colour screen, dedicated cassette recorder from the same company accessory: a box that slips into the Zoom’s XLR controls for the most useful inputs and provides connection and power for functions, XLR inputs and my DACS binaural microphones. Devices such outputs, and high capacity as the Tascam DR100 offer choices of onboard rechargeable battery microphone type (X-Y and omnidirectional capabilities. However, in the Tascam’s case) as well as XLR inputs, though this machine has but also all of the main controls for input/ a single built-in electret microphone selection, level range, phantom microphone, it’s really power, and transport controls available on designed to be used in dedicated buttons – which I find extremely conjunction with your DPA6 PORTABLE RECORDERS
  7. 7. found on channels of audio including a stereo mix track the side and and two aux ‘stems,’ along with the capability dedicated to handle AES42 standard digital microphones. controls for Zaxcom’s range of portable multi-track recorders input type, combine high quality internal mixing with phantom dedicated faders alongside multi-track recording power to Compact Flash cards. The Deva series are and menu ten or sixteen channel units with up to twelvethat had accompanied me throughout my controls lie microphone/line inputs and multi-channel digitalfledgling recording career. The PMD 671 records on the top of the unit, while the LCD screen/ outputs. Unusually, the Deva units featureto Compact Flash cards of course, but in other meters and chunky transport are on the ‘front’ compressors, EQ, and delay on each channel,ways it’s similar to its mechanical predecessor (or top when it’s in use.) The DR-680 records reducing the necessity for an additional mixingwith its chunky dual concentric input level to six mono broadcast WAV files and generates desk. The Nomad series are dedicated recorderscontrols and functions that are easily accessible a stereo mix automatically so you can get a – for example, the Nomad Lite is a ten-channelwhen slung across the shoulder. Also, like its rough off to your dub engineer right away. unit that also features DSP effects, internalcassette-based ancestor, it features a speaker for Its big brother, the HSP82, is a thoroughly mixing, and is capable of sending up to threeon-site playback while its professional nature is professional machine with a price tag to match. stereo mixes to up to five outputs which mightemphasised by software based features such as Recording eight channels at up to 192kHz be to cameras on set, for example, while theEdit Decision List (EDL) and Broadcast Wave ID on to dual SD cards (for back-up,) its light yet Nomad 12 is, well, a 12-channel system. All oftagging. While the aforementioned devices are rugged aluminium case can be run off Zaxcom’s recorders comecomplete solutions, if you wish to simply record multiple power sources, and it can accept in small, light packagesstereo audio on location, Zaxcom’s ZFR series timecode and word clock sources. with all controls easilyare tiny Timecode based SD recorders that can Nagra’s VI is an eight-channel (four accessible. The Zaxcombe used, for example, where wireless reception mic, two line, two mix) unit that Maxx is an exampleto the main recording rig is poor or you need to brings the company’s renowned of the innovationcapture audio remotely and unattended. audio and build quality into the flourishing in the market multi channel portable recorder and consists of a four-Back To Multi-track market. It records to an internal channel audio mixer,If you want to capture a multi-track of a live 2.5-inch hard drive, and a RF transmitter, recorder,band or you work in film or TV production, copy can be streamed to timecode reader/generator,you’re going to need more recording channels. the internal Compact Flash and visual timecode slate allIf you’re on set, you might be recording several card for back-up and in one small package.channels of audio from actors and also have transfer. Features such asto capture environmental atmos tracks. the ‘crackle free’ digital ConclusionWhile many experienced engineers use portable encoder system mean that The portable recorder marketmixers to produce audio pre-mixed for the dub, it should perform reliably is a mature one, with fiercemost will want to generate separate stems for in any environment, and competition in the mid to lowat least the main actors on set. Most of the the recorder’s ability to chase price sectors – which inevitably leadsfeatures and capabilities that you’d need for timecode enables it to slip in nicely in any film to the development of innovative features,location stereo recording will also be needed or TV production facility. Sound Device’s 744T as each company tries to stand out from thefor multi-track – apart for the need for internal is a timecode enabled four-channel multi-track others. These range from the capability tomicrophones, as these recorders are usually recorder that captures audio on hard drive, record using multi-microphone patterns, togoing to be used with fixed mics or wireless Compact Flash, and external Firewire drives – or other more musician- and journalist-friendlysystems. Tascam’s DR-680 is, effectively, six any combination of all three for redundancy capabilities such as multi-track recording, tuners,DR-100s in a neat portable package intended and, as the need for power is everything on and automatic level controls. When we getto be slung over the shoulder. Six microphone location, it can utilise standard Sony camcorder up to the more ‘professional’ segment of thepre-amplifiers (four on XLR, two on TRS) are batteries. The two microphone inputs are of the market, there are still several well respected quality to be expected from Sound companies vying for your interest, all of whom Devices, while the are producing machines capable of delivering two line inputs multi-channel audio reliably to your dubbing could be used engineers on a multi million pound feature. to add an We’ve come a long way from clunky tape external sub machines and even clunkier direct to video mixer. If you need tape digital systems of the past, and the more recording manufacturers of the current range of portable channels, the 788T expands recording devices don’t look like they’ll be of its sibling’s capabilities with up to twelve running out of ideas any time soon. THE INTERNATIONAL RECORDERS BUYER’S GUIDE 7
  8. 8. + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + 4MinX: Mixer/Recorder Designed For The Most Demanding With its scalable and up-gradable design, its flexible monitoring and routing capabilities, the 4MinX is ideal for almost any situation from TV/film location sound recording to music recording. With six hours’ operation from its on-board battery, the 4MinX is remarkably lightweight and features high-end preamplifiers, as always, from AETA Audio Systems. Born out of the desire to meet new workflows for Audio • Four Mic/Line transformerless inputs – very engineers, this compact and lightweight mixer- Through its superb audio performance, the low noise (-128dBu) but with great flexibility of recorder benefits from 20 years of AETA Audio 4MinX is ideal for the most demanding sound trim and excellent headroom (input headroom: Systems’ expertise in high quality analogue and recordist to showcase their work. 40dB, independent of input stage gain). digital audio design. It combines 10 inputs (four Mic/Line, two It is suitable for all types of sound production, The 4MinX brings new solutions, power, lines, four digital channels AES3/AES42) and 12 from standard mono, through stereo (X/Y or and flexibility, without compromising on the outputs (six analogue channels and six digital fully-featured M/S) to surround (A or B formats essential needs of field recording: autonomy, channels AES3). from our SoundField partnership, or Double M/S) audio quality, and user-friendliness. Digital inputs also support AES42 for digital Whether broadcast or media industry microphones (10V phantom power) without Designed To Be Robust, Easy To Use, (documentary, film, music), the 4MinX opens degradation. Gain/Trim/Filter controls are And Open For Future Features new possibilities for production in different available on each channel in both analogue and The construction uses a stainless steel chassis specialities. Combining the features of a multi- digital modes. and carbon-fibre loaded polymer casing, to track recorder (two to eight tracks) and portable AETA AUDIO is renowned for producing high give both lightness and durability. The result is digital mixer, the 4MinX is ideal for stereo as well quality mic preamplifiers. The 4MinX remains surprisingly lightweight at only 2.1kg including as multi-channel productions. true to this reputation, and even offers the the on-board battery! user an improved mic pre-amp audio The design allows the unit to be used safely specification: in extreme conditions (heat, cold, high humidity, • Maximum overall shocks). The 4MinX is fully shielded against gain: 92 dB – useful for radio interference, and the casing has better dynamic and ribbon resistance to denting and damage than heavier microphones conventional metal structures. Navigation of the menus is by a rotary encoder (thumbwheel) on a superb 3-inch TFT transflective display, and offers a simple, fast, and readable user interface. Multiple buttons allow direct access to assignable functions. The hardware already includes interfaces (USB, Ethernet) to implement future features: MIDI device, transfer audio... and, since software can be improved and rewritten, the 4MinX is future-proof. 8 PROMOTIONAL FEATURE
  9. 9. recorders 2013+ + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + Power Management eight tracks, with background back-up on The new lightweight 4MinX allows you to work external USB disk. More than 15 hours of on location for more than six hours with its eight-track/96kHz/24-bit recording can be rechargeable standard DV Li-Ion battery (NP-F). held on a 128GB SDHC card. This type is commonly used with Sony cameras. When you record with the 4MinX, A spare battery will double this time. you don’t record directly to tracks but The DC input allows the 4MinX to be create self-contained files that hold one, powered from an external battery (NP1 or two, or more tracks depending on the alternative): it is also possible to recharge the selected configuration. With the 4MinX internal 4MinX NP-F battery at the same time. it is possible to simultaneously record The 4MinX can switch automatically between two stereo microphones on two different power sources without interrupting recording. stereo files, for example. A robust and optimised power supply has All recordings are done in been designed for the 4MinX, to provide up to BWF (Broadcast Wave File) format. 15 Watts for your peripherals. BWF metadata in A Neutrik MiniCON 12-pin About AETA iXML format can be connector (located on the left AETA Audio Systems is French, and managed directly allow complete flexibility of settings, and are side) offers two additional on the 4MinX and is simple to use. They give total freedom and users a leading international developer line outputs for wireless TX compatible with most can save up to eight snapshots. of portable sound recording units, to camera, to the presenter’s post-production software. With an optional 10-pin HIROSE socket, it is mixers, and advanced audio codecs, possible to handle camera return and dedicated earpiece, etc. Receivers and The availability of an optimised for any kind of media and communication circuits. transmitters can be powered optional USB keyboard from the 4MinX through this transmission infrastructure. “Made by simplifies metadata connector; up to 6 Watts of AETA” is a synonym for high quality management. Pricing consumption. and investment protection. A complete project The 4MinX price is very competitive. From its very beginning in 1978, management system With 4MinX you pay only for what you Recording the company focused not only on satisfies the needs of the need, and what your budget can afford. The 4MinX uses an Ambient developing innovative products, but most demanding users The 4MinX is an “evolutive product”, allowing Recording Time Code module and generates sound you to upgrade at any time after purchase. also on making them as small as – highly regarded within the report files automatically. You can upgrade your 4MinX from two to eight possible allowing for mobile use and industry and used in ARRI tracks recording, or add Soundfield monitoring easy handling. They have acquired cameras – to provide high- Flexible and Powerful with just a software upgrade, thus avoiding any a considerable reputation in the return to the factory. accuracy LOCKIT TC. To design the 4MinX, audio field. AETA’s 4MinX was given an award for The time code module can we were not afraid to be used as a TC generator (all re-write the rulebook in technological innovation by SATIS Trophies video formats supported) or Some references: order to offer you more 2011 in France for its compactness and future- as a receiver to synchronise 1999: PSP3 – Stereo Pre-amp power and flexibility. proof technology. the 4MinX to any TC source. 2000: MIX2000 – four channel The routing capability Sophisticated project portable mixer for each input and management makes it simple 2007: MIXY – three mic/line stereo each output gives the to handle multiple recordings. mixer user a completely free The multi-track recorder on hand. A 4MinX user can SD/SDHC card can extend to set a specific interface and adapt it to their own preferences regarding inputs and outputs. Apart from the record sources that you include in each file, the 4MinX offers additional powerful and detailed routing, enabling the AETA Audio Systems user to define what is 18-22 Avenue Edouard Herriot sent to mix busses, Parc technologique – Kepler 4 and to analogue and 92350 Le Plessis-Robinson FRANCE digital outputs. www.aeta-audio.com No need to go back t +33 1 41 36 12 00 into the menus – personal F + 33 1 46 36 12 69 configuration snapshots e contact@aeta-audio.com THE INTERNATIONAL RECORDERS BUYER’S GUIDE 9
  10. 10. + + + + M AYA H C O M M U N I C AT I O N S + + + + M AYA H C O M M U N I C AT I O N S + + + + M AYA H C O M M U N I C AT I O N S + + + + MAYAH Communications GmbH – World Leading Audio Technology MAYAH is a world leading designer and distributor of high-end equipment for broadcast and audio/video production. MAYAH develops technologies aimed squarely at small, solid-state machines favoured by radio With TripleR it now becomes much easier, broadcast and high-end audio production users. journalists the world over. less expensive, and far quicker to let the The Munich-based firm are specialists in problem One of MAYAH’s latest developments is the performer work from his home base or another solving for broadcasters – for example by Impload Triple R, Rapid Remote Recorder. This is studio location somewhere on the globe. TripleR developing systems like Flashcast, which allows a system that allows remote audio recording via combines the transmission of audio and also different codecs (in fact almost all proprietary the Cloud (online) with the key feature being the simple MIDI control through the Cloud. systems) to recognise each other automatically: low latency, or delay, of the playback. The performer can listen to live playback a godsend in the cut and thrust of broadcasting Studios and production facilities often from the production software with a minimum and newsgathering. need quick performer inputs from contributors of latency. By choosing the open source edge The company has also been developing and performers being situated in very remote technology Opus codec algorithm, audio is sent innovative hard and software products for locations, away from the studio. In the past the through the Cloud with a minimum of latency in-house streaming, web radio, ISDN, other only solution has been to bring in the musician and stunningly high quality. broadcast networking applications, and digital in – a costly and time consuming way to obtain This is the first product of its kind to offer a handheld recording. The original MAYAH what is often just a few bars of music. MIDI control data transfer, together with the Flashman recorder was one of the original edge technology codec algorithm Opus. TripleR is also a fully operational PC audio board, with all controls not only accessible through the browser but also with a full set of front panel controls: • Gain Control • Mic/instrument input level • Phantom Power • Pad-Headphone Volume TripleR also features the following I/O’s:Rear Panel: • Balanced 6.3 analogue in (Left/Right) • Balanced 6.3 analogue out (Left/Right) • USB to PC • MIDI In/Out • AES In/Out Photo: Cameron Whitman, 2010. • USB device link 10 PROMOTIONAL FEATURE
  11. 11. recorders 2013+ M AYA H C O M M U N I C AT I O N S + + + + M AYA H C O M M U N I C AT I O N S + + + + M AYA H C O M M U N I C AT I O N S + + + + M A Centauri IV Centauri IV is MAYAH Communications’ new universal scalable audio codec with up to 64 freely configurable audio channels. As a combined breakout box and audio interface, all MADI and AES devices currently on the market can be used. It is the fourth generation of Centauri audio codecs, the result of fourteen years of development across the codec line that has proved highly successful around the world. The Centauri IV supports the most relevant industry and EBU standard audio coding formats, from Opus to Linear. It is one of the world’s only unique codec devices designed to support the new open source Opus codec algorithm. MAYAH Communications is also highly renowned for high-end device features, such as: • Standardised Protocols • Automatic Jitter Buffer • Error Concealment • FEC • Remote Control The MAYAH Communications Centauri IV is the first of its kind to demonstrate such powerful features in such a compact form at a competitive price point. MAYAH Communications C10 & D10 Along MAYAH Communications developments, the C10 is designed as an economically low budget audio codec, but still fulfilling the high expectations of today’s broadcast industry. C10 is also equipped with the newest codec algorithm Opus, featuring the same high quality properties as all the other MAYAH devices The C10 is manageable by a highly intuitive remote application, and is able to work with various other codec formats besides Opus. For receive-only purposes, the D10 (which looks the same as the C10) is a receiving-only audio codec. Front: to be used for musicians to play together for a • Combined XLR/balanced 6.3 jack socket session, a recording, or a production. The audio • 2x Headphone out will be in both directions, from the studio to the • Level Control musician and from the musician to the studio in • Mixing Control excellent quality and via regular Internet access. • Mic/Line Switch TripleR is not only capable of transmitting • Phantom Power live streaming audio, but also MIDI control data • Mic Pad between contributors and studio. The transport goes in both directions. Audio is sent from the At the heart of TripleR is the OPUS audio codec, production site to the musician who will play MAYAH Communications GmbH which runs with an extremely low latency a MIDI device and use the Impload TripleR to Am Söldnermoos 17 without sacrificing sound quality. This allows it transmit this control data to the studio. D-85399 Hallbergmoos, Germany t +49 811 5517 0 f 49 811 5517 55 e info@MAYAH.com MAYAH Communications U.S. Office North American Business Development Bellingham, WA United States t +1 360 618 1474 THE INTERNATIONAL RECORDERS BUYER’S GUIDE 11
  12. 12. Recording Studiosthat fit in your pocketOLYMPUS LS-100 MULTI-TRACK LINEARPCM RECORDER: HIGH PERFORMANCE,MOBILE MULTI-TRACK RECORDINGUncompromising sound quality and portablerecording versatility have been the hallmarkof the Olympus LS range since its inception.Now, the new LS-100 has gone furtherto provide musicians and broadcasterswith a state-of-the-art tool enablingconvenience of studio-grade, multi-trackaudio recording just about anywhere.Furthermore, this impressive mobilerecording studio is capable ofhandling a maximum soundpressure level of up to140dBspl.As with its cousins in theLS-family, the new LS-100delivers ultimate soundrecording quality inuncompressed 96 kHz/24 bitLinear PCM splendour. Thisextreme audio quality has nowbeen amplified with eight-trackrecording and overdubbingcapabilities to turn sounds andindividual tracks into completecompositions - all within the palm LS-100 MULTI-TRACK LINEARof the hand. PCM RECORDER - MAIN FEATURES:Besides its integrated stereo mics, theLS-100 also features dual XLR/Phone combo Record superior quality soundjacks to facilitate the direct connection with professionalexternal microphones or other musical equipment. Connect to professional audio with XLRThe durable and compact Olympus LS-100 Multi-TrackLinear PCM recorder bestows musicians and broadcasters Built-in sound on sound multi-a high performance, mobile multi-track recording studio to track sequencerfulfil all their needs - from a single track to a completecomposition - boasting highest possible audio qualities. L/R independent recording
  13. 13. Capture your demos, interviewsand gigs in high-quality audio LS-20M HD SOUND AND HD MOVIE The LS-20 offers LS-11 AUDIO the ability to also RECORDER shoot HD movies to accompany your The LS-11 HD sound, the can record added full HD .wav files movie at 1920 x as high as 1080P (30 fps) with 96 kHz/24 bit, image stabilizer as well as MP3 allows you to live and WMA files life on a film set in a range of bit ready for ‘action’. rates. It comes with 8 GB of internal memory which can be expanded through the use of SD cards and includes an LS-20 infra-red remote control, MAIN FEATURES: and Cubase LE software. Record superior to CD quality soundLS-3 SMALLEST Shoot incredible full HD movies with magic movie effects& SLIMMEST LS Movie image stabilisationRECORDER reduces camera shakeThe LS-100 joins the PCM (WAV) and MP3recently launched recording/playback formatLS-3 and LS-20 tooffer a completerange; The LS-3 isthe smallest,slimmest linearPCM LS recorder LS IS More What Musicians, journalists andto fit in your pocket podcasters have been waiting forand capture soundsand riffs on the go.To see the complete LS range and full features,please visit www.olympus.co.uk/consumer/ls-seriesor email music@olympus.co.uk for details
  14. 14. ++++ ROLAND SYSTEMS GROUP++++ROLAND SYSTEMS GROUP++++ROLAND SYSTEMS GROUP++++ROLA Professional Recording Solutions From Roland Systems Group The Roland R-88 establishes a new standard in professional portable recording by integrating a recorder, mixer, and multi-channel audio interface – and joins the R-1000 standalone recorder/player and the R-26 hand held device to offer a comprehensive range of recording solutions. R-88 Portable Recorder and Mixer: on the computer as 10 individual inputs and to a video camcorder or DSLR, simultaneously Eight Tracks and Two Channel Recording eight individual outputs. recording each microphone audio signal for Capability subsequent post-production. This new multi-track SDHC/SD card recorder with On Board Mixing Capability For surround recording on location, eight-ch XLR inputs/outputs has the recording The on board mixing capability with fader, pan, six channel surround microphones can be capability of eight tracks + two channel EQ, and two channel mixing allows the user to connected to the R-88, providing two-mix stereo mix at 24-bit/96kHz, or four tracks at mix as well as record. Studio class effects such as monitor on headphones. 24-bit/192kHz – totally uncompressed recording three-band EQ, six-band GEQ, enhancer or de- For concert recording with multiple of broadcast wave files assuring outstanding esser can be used as tools to perfect the audio microphones, the microphones and PA outputs sound quality – with quality of the recordings. are connected to the R-88. The R-88 records selectable bit depths About Roland Effects can be applied while each individual channel and two-mix from the (16-bit or 24-bit), and Roland Systems Group is dedicated recording or simply for microphone inputs at the same time. sampling frequencies monitoring/playback. to supporting audio and video (44.1kHz/48kHz/88.2kH The R-88 professionals who demand excellence z/96kHz/192kHz). Fully Compatible with SMPTE With rugged construction, an extended in terms of performance and system The R-88 has eight Timecode feature set, and superb sound quality, the XLR inputs, each with design by consistently providing the The R-88 is fully compatible R-88 Eight Channel Recorder and Mixer phantom (+48V) entertainment industry with the most with SMPTE timecode, and can enables recording of up to eight channels and onboard effects creative and technically advanced act as slave (with timecode at 24-bit/96kHz, as well as the ability to including limiter products. Offering solutions to regeneration on the timecode provide simultaneous two mix sound. and low cut on each many markets including broadcast, out), or as master to enable Complementing the existing award winning channel. The built-in education, live production, theatre, a fully synchronised video range of Roland portable and hand held limiter helps deliver visual performance and worship, workflow. Further workflow audio recorders, the R-88 addresses the a stable and reliable Roland System Group provides aids are included such as Slate recording free of facility from onboard mic for market need for a portable recording and intuitive, flexible products that can clipping noise from memo recording or Slate tone mixing solution for situations where there be used in standalone or system sudden input surges, (1kHz/-20dBFS), and a jack are multiple microphones on location, configurations using the V-Mixing whilst the low-cut filter input, which allows control and music recordings with more than is included to help System, Digital Snakes, or S-MADI of play, record, rewind, and four microphone channels. Designed for prevent things like wind connectivity. more via optional or dual a variety of professional needs, such as noise or mic handling footswitches. recordists who currently record with two- noise, both greatly The USB host terminal of the R-88 enables mix but want to switch to multi-channel improving the audio quality. high speed and instant back-up of recorded data recording, and for those who need more to affordable and easy obtainable media like than their existing four-channel recorder, SDHC/SD Card Recorder Flash memory, memory cards via card reader, or the R-88 is an affordable solution. The R-88 uses SD cards or large capacity HDD storage. Easy and high-speed duplication of SDHC cards as the recording media, enabling recorded data improves production workflow easy transfer of data to PC or post-production across multiple locations. hardware. Connecting the R-88 to a PC/Mac is easy, either using the R-88 as a removable drive For Film, Surround, to transfer audio files, or using the dedicated and Concert Recording Applications driver as an audio interface. The USB AUDIO I/F For film recording on location, multiple feature means that the R-88 can also act as an wireless and boom microphones can be audio interface to a computer (PC or Mac) when connected to the R-88. The R-88 mixes connected by USB, appearing to audio software the audio signals and outputs a stereo mix 14 PROMOTIONAL FEATURE
  15. 15. recorders 2013AND SYSTEMS GROUP++++ROLAND SYSTEMS GROUP++++ROLAND SYSTEMS GROUP++++ROLAND SYST R-26 Hand Held Recorder – Professional Portable Device With dual stereo mics, six channels of simultaneous recording and three channel IARC (Isolated Adaptive Recording Circuit), the R-26 is designed to be easy to use and includes added benefits such as on-board editing, a touch panel display, and a USB audio interface for your PC. The dual stereo mics (omni-directional and directional) operate independently of each other to give greater flexibility in different recording applications. The OMNI mics are entirely enclosed in a mesh and optimised to faithfully capture sounds down to super-low frequencies. In addition to the onboard mics, the R-26 provides XLR/TRS inputs for up to six channels (three stereo) of simultaneous recording. This useful feature allows you to capture sound up close with the built in mics, record room ambience with external mics, and save them as separate files for mixing together later. To reduce interference between inputs to achieve clear, high quality sound, the R-26 is equipped with Roland’s proprietary IARC on both the inputs for the built in mics and the external inputs. The two analogue combo (XLR/TRS) jacks have 48V phantom power, as well as a side mounted plug-in mic (stereo mini) input with support for plug in power. The R-26 supports 24-bit/96 kHz linear PCM recording and also simultaneous recording in WAV/BWF and MP3 formats, whilst a pre-recording function actually begins your recording two seconds before you initiate it – a great feature for capturing environmental sounds. The mic pre-amp is fitted with a limiter and low cut filter, which when activated reduces distortion with selectable cut off frequencies of 100, 200, or 400 Hz. Company Headquarters: Roland Corporation 2-7 Kandasuda-cho, Chiyoda-ku, Tokyo 101-0041, JAPAN R-1000 48-Track Recorder/Player w www.roland.com The R-1000 is an intuitive, standalone, dedicated recorder/player designed to work with UK: the V-Mixing System in any live event or production, making it ideal for virtual rehearsal, Roland Systems Group rehearsals, playback, and training. It can also be used with any digital console with a MADI Metropolis Studios, The Power House, output via the Roland S-MADI REAC MADI Bridge. Based on REAC (Roland Ethernet Audio 70 Chiswick High Road, London W4 1SY Communication), the R-1000 eliminates the bulk and noise susceptibility typically associated Tel: +44 (0) 1792 702701 with analogue snakes and replaces it with Cat5e/6 (Ethernet/LAN) cable. Recording up to 48 w www.rolandsystemsgroup.co.uk tracks of 24-bit audio in BWF format, its removable hard drive ensures smooth integration e simon.kenning@rolandsg.co.uk with DAWs and allows approximately 20 hours of recording (44.1/48 kHz) using a 500GB HDD. Multi-track playback (48 tracks of 24-bit audio via REAC) is also provided, while a marker US: function enables playback at any designated point. Roland Systems Group Data can be loaded from external devices, and analogue monitor and headphone outputs 801 West Orchard Drive, are provided, along with USB ports for backing up data and connecting a PC for further Suite 3 Bellingham, WA98225 software control, plus a versatile feature set that includes video sync, timecode, GPI, t +1 (360) 5944282 w www.rolandsystemsgroup.com and RS-232C. e sales@rolandsystemsgroup.com THE INTERNATIONAL RECORDERS BUYER’S GUIDE 15
  16. 16. ++++ SOUND DEVICES++++SOUND DEVICES++++SOUND DEVICES++++SOUND DEVICES++++SOUND DE Sound Devices’ 7-Series Digital Audio Recorders Sound Devices’ 7-Series line is the next generation of digital audio recorders. The two, four, or eight track 7-Series recorders shatter the size, performance, and feature- set paradigms of all previous generations of audio recorders. CL-8 Controller with Sound Devices 788T Digital Recorder. Sound Devices’ digital recorders are designed 7-Series recorders are controlled by a fast track file-based digital audio recorder, while the specifically for documentary and feature film/ and intuitive user interface, with easy to access Sound Devices 702T adds time code. video production, sound effects gathering, and buttons and an informative LCD display and LED The time code implementation makes the live multi-channel music recording. The 7-Series metering. All controls can be accessed on the 702T perfect for any double-system video or recorders include high-performance, high- front panel of the unit. film production application. Sound Devices resolution analogue microphone preamplifiers. Created with documentary, ENG, and feature 722 is designed with an internal hard drive for Developed for high-bandwidth, high bit-rate film recording engineers in mind, Sound Devices extended recording time. digital recording, these preamps set the standard keeps its recorders as small and lightweight These compact, two-track devices record for linearity, distortion performance, and low- as possible without compromising sonic and play back audio to CompactFlash cards noise gain. performance. No other audio recorders and/or external FireWire drives (as well as Sound Devices’ two-input (702, 702T, 722), approach their size/performance ratio. internal hard drives for the 722), making field four-input (744T), and eight-input (788T) The 788T can easily fit into a standard recording simple and fast. They record and play recorders write and play audio files with either production audio carry case such as the CS-5, uncompressed PCM audio at 16 or 24 bits with 16 or 24-bit depth at all professional sampling and weighs less than four pounds. All other sampling rates between 32kHz and 192kHz. rates, up to 192 kHz (96 kHz on the 788T). 7-Series recorders weigh less than three pounds Compressed MP3 audio and data-compressed Multiple storage mediums, analogue/digital and easily fit in an accessory pouch. FLAC recording and playback are also supported. I/O, and high-speed computer connectivity The 7-Series records Broadcast WAV files Removable, rechargeable batteries are a make 7-Series recorders stand out as (with iXML Metadata) to CompactFlash cards on standard Sony-compatible Li-ion camcorder cell. world-class products. all recorders and to internal hard drives on the The CompactFlash card appears as a removable drive-equipped 722, 744T, and 788T storage device when connected via the FireWire (160GB). Audio files can be transferred port to Windows or Mac OS computers. over FireWire (USB 2.0 and FireWire 800 on 788T) to a Windows PC or Four-Track Recorder – 744T Mac OS computer for post-production Sound Devices’ 744T is a powerful or archiving. four-track file-based digital audio recorder. While the 7-Series recorders are The super-compact 744T records and plays very capable tools alone, they excel back audio to and from its internal hard drive, when used in conjunction with Sound CompactFlash cards, and external FireWire Devices 552 and 664 audio mixers. drives. It records and plays uncompressed Using an external mixer extends the PCM audio at 16 or 24 bits with sample flexibility of the recorder and gives the rates between 32kHz and 192kHz. next level of audio I/O and control. Compressed MP3 audio recording and playback from 64kb/s to 320kb/s and Two-Track Recorders – data-compressed FLAC are also supported. 702, 702T, 722 The time code implementation makes the Sound Devices’ two-track recorders 744T ready for any recording job – from are powerful file-based digital audio over-the-shoulder to cart-based productions. recorders. Sound Devices 702 is a two- 16 PROMOTIONAL FEATURE

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