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

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 P
RECORDERS
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. FouR good REAsoNs whY You'd
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 Recorder
tel: +44 (0) 1223 911 000
info@joeco.co.uk
www.joeco.co.uk
Multi-track technology for the 21st century

3. Welcome to Recorders 2013, an international
contents Buyer’s Guide. We’ve been busy rooting around
the professional recorder ranges to bring you a
4 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 benefit
10 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 roles
14 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 Sound
16 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 Team
18 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 Shirreffs
20 Zaxcom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.mac@audiomedia.com jp.shirreffs@audiomedia.com
www.nbmedia.com
22 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. recorders 2013
Portable Recorders
In my day I’ve recorded on location using critical recordings in
Nagra reel-to reel tape recorders, Walkman- challenging locations.
style cassette recorders, portable DAT (Digital However, some of
Audio Tape) machines and, on one memorable the least expensive
occasion, I captured the performance of retired recorders are stuffed
members of the BBC big band on a Sony PCM to the gills with bells and
F1 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 sample
actually 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
extreme
to 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 are
that the current crop of portable systems are… have to have to be truly useful in the field.
useful for interviews and in discrete
well… more portable and, just as Solid state drives mean that the power
location recording. I’ve been extremely
importantly, 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 when
can produce high quality so standard batteries are usually
used to capture both music and environmental
recordings and cope with useable – and many come with
recording. One common characteristic of the
the 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 to
Back 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 easy
location 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 buttons
extremely inexpensive dictaphone- gigabyte Secure
are usually easily accessible – although making
style stereo recorders to rugged multi- Digital (SD) or
changes to sample rate and file formats could
channel 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 recording
As 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, and
recorders this often results in improved on- of stereo or multi-track
automatic level control (ALC – shades of my
board microphones and their pre-amplifiers, audio direct to data in various
old Phillips cassette recorder there!), which can
high quality headphone amplifiers, and better audio formats including MP3. Off-loading your
be extremely useful when you’re capturing
build 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. COMPAC T STUDIOS
www.tascam.co.uk | www.tascam-europe.com
Even more Portastudio than ever before
DP-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-03
24 tracks on SD/SDHC card, high-contrast LC colour display, dynamic 8 tracks + stereo master track on SD/SDHC card, built-in stereo
and send effects, dedicated controls for direct access to EQ, panorama condenser microphone, 2 XLR inputs with phantom power, reverb
and 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. 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 DPA
6 PORTABLE RECORDERS

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 twelve
that had accompanied me throughout my controls lie microphone/line inputs and multi-channel digital
fledgling recording career. The PMD 671 records on the top of the unit, while the LCD screen/ outputs. Unusually, the Deva units feature
to 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 mixing
with its chunky dual concentric input level to six mono broadcast WAV files and generates desk. The Nomad series are dedicated recorders
controls and functions that are easily accessible a stereo mix automatically so you can get a – for example, the Nomad Lite is a ten-channel
when slung across the shoulder. Also, like its rough off to your dub engineer right away. unit that also features DSP effects, internal
cassette-based ancestor, it features a speaker for Its big brother, the HSP82, is a thoroughly mixing, and is capable of sending up to three
on-site playback while its professional nature is professional machine with a price tag to match. stereo mixes to up to five outputs which might
emphasised by software based features such as Recording eight channels at up to 192kHz be to cameras on set, for example, while the
Edit 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 of
tagging. While the aforementioned devices are rugged aluminium case can be run off Zaxcom’s recorders come
complete solutions, if you wish to simply record multiple power sources, and it can accept in small, light packages
stereo audio on location, Zaxcom’s ZFR series timecode and word clock sources. with all controls easily
are tiny Timecode based SD recorders that can Nagra’s VI is an eight-channel (four accessible. The Zaxcom
be used, for example, where wireless reception mic, two line, two mix) unit that Maxx is an example
to the main recording rig is poor or you need to brings the company’s renowned of the innovation
capture 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 all
If 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 as
to capture environmental atmos tracks. the ‘crackle free’ digital Conclusion
While many experienced engineers use portable encoder system mean that The portable recorder market
mixers to produce audio pre-mixed for the dub, it should perform reliably is a mature one, with fierce
most will want to generate separate stems for in any environment, and competition in the mid to low
at least the main actors on set. Most of the the recorder’s ability to chase price sectors – which inevitably leads
features 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 the
for multi-track – apart for the need for internal is a timecode enabled four-channel multi-track others. These range from the capability to
microphones, as these recorders are usually recorder that captures audio on hard drive, record using multi-microphone patterns, to
going to be used with fixed mics or wireless Compact Flash, and external Firewire drives – or other more musician- and journalist-friendly
systems. 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 get
to be slung over the shoulder. Six microphone location, it can utilise standard Sony camcorder up to the more ‘professional’ segment of the
pre-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. + + + + 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. 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. + + + + 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. 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. Recording Studios
that fit in your pocket
OLYMPUS LS-100 MULTI-TRACK LINEAR
PCM RECORDER: HIGH PERFORMANCE,
MOBILE MULTI-TRACK RECORDING
Uncompromising sound quality and portable
recording versatility have been the hallmark
of the Olympus LS range since its inception.
Now, the new LS-100 has gone further
to provide musicians and broadcasters
with a state-of-the-art tool enabling
convenience of studio-grade, multi-track
audio recording just about anywhere.
Furthermore, this impressive mobile
recording studio is capable of
handling a maximum sound
pressure level of up to
140dBspl.
As with its cousins in the
LS-family, the new LS-100
delivers ultimate sound
recording quality in
uncompressed 96 kHz/24 bit
Linear PCM splendour. This
extreme audio quality has now
been amplified with eight-track
recording and overdubbing
capabilities to turn sounds and
individual tracks into complete
compositions - all within the palm LS-100 MULTI-TRACK LINEAR
of the hand. PCM RECORDER - MAIN
FEATURES:
Besides its integrated stereo mics, the
LS-100 also features dual XLR/Phone combo Record superior quality sound
jacks to facilitate the direct connection with professional
external microphones or other musical equipment. Connect to professional audio
with XLR
The durable and compact Olympus LS-100 Multi-Track
Linear PCM recorder bestows musicians and broadcasters Built-in sound on sound multi-
a high performance, mobile multi-track recording studio to track sequencer
fulfil all their needs - from a single track to a complete
composition - boasting highest possible audio qualities. L/R independent recording

13. Capture your demos, interviews
and 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 sound
LS-3 SMALLEST Shoot incredible full HD
movies with magic movie effects
& SLIMMEST LS
Movie image stabilisation
RECORDER reduces camera shake
The LS-100 joins the
PCM (WAV) and MP3
recently launched
recording/playback format
LS-3 and LS-20 to
offer a complete
range; The LS-3 is
the smallest,
slimmest linear
PCM LS recorder
LS IS More
What Musicians, journalists and
to fit in your pocket
podcasters have been waiting for
and capture sounds
and riffs on the go.
To see the complete LS range and full features,
please visit www.olympus.co.uk/consumer/ls-series
or email music@olympus.co.uk for details

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. recorders 2013
AND 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. ++++ 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