This action might not be possible to undo. Are you sure you want to continue?
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
P RO D UCE D BY
In association with:
I N T E R N AT I O N A L E D I T I O N
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
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 firstname.lastname@example.org www.joeco.co.uk
Multi-track technology for the 21st century
Portable Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Welcome to Recorders 2013, an international Buyer’s Guide. We’ve been busy rooting around the professional recorder ranges to bring you a 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 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 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 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 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
AETA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mayah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Roland Systems Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sound Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Yellowtec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0)1354 669960 - Fax: +44 (0)1354 669965
Sales Manager Graham Kirk
Editorial Manager (Europe) Lanna Marshall
Zaxcom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editor In Chief Paul Mac
Design & Production Manager John-Paul Shirreffs
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.
In my day I’ve recorded on location using Nagra reel-to reel tape recorders, Walkmanstyle cassette recorders, portable DAT (Digital Audio Tape) machines and, on one memorable occasion, I captured the performance of retired members of the BBC big band on a Sony PCM F1 system connected to the noisiest Betamax recorder in the world. These portable systems often had several things in common – they were actually not that portable and usually needed external microphones or mains power supplies to achieve anything like acceptable results. The advent of direct to data recording means that the current crop of portable systems are… well… more portable and, just as importantly, means that even the least expensive systems can produce high quality recordings and cope with the longest performances.
Back To Basics
There are many portable/ location recording devices on the market and the range runs from extremely inexpensive dictaphonestyle stereo recorders to rugged multichannel devices designed for capturing audio for music, ﬁlm, and television on set. As is often the case, higher cost usually brings higher quality, and, with regard to portable recorders this often results in improved onboard microphones and their pre-ampliﬁers, high quality headphone ampliﬁers, and better build quality – which is extremely important if you’re going to be performing mission
critical recordings in challenging locations. However, some of the least expensive recorders are stuffed to the gills with bells and whistles, and many feature multimicrophone and multi-track capabilities, along with the ability to work at high sample rates and generate 24-bit ﬁles. Apart from being able to be easily transported to the recording location, there are several features that all portable recorders have to have to be truly useful in the ﬁeld. Solid state drives mean that the power consumption of the audio capture parts of the device is usually pretty low, so standard batteries are usually useable – and many come with built-in rechargeable cells that can provide hours of recording time. Audio is relatively meagre in its demand of drive space, so multigigabyte Secure Digital (SD) or Compact Flash (CF) cards or hard drives can capture hours of stereo or multi-track audio direct to data in various audio formats including MP3. Off-loading your recordings is then a simple matter of connecting the device via USB to a computer, or popping out the card and inserting it into your Mac or PC either directly or via a dedicated card dongle. The most basic systems offer just two-track stereo recording and utilise inbuilt microphones, usually in an X-Y conﬁguration, and record directly to SD cards. Others can record at up to 96kHz sample rates and often feature a 3.5mm stereo jack input for connecting external microphones – many of which provide power for condenser and back-electret devices. Characterised by their PORTABLE RECORDERS
extreme portability, these devices are useful for interviews and in discrete location recording. I’ve been extremely impressed with the results from the Zoom H4n, Olympus LS5 and Tascam DR07 recorders when used to capture both music and environmental recording. One common characteristic of the least expensive recorders is that they often rely heavily on screen menu-based systems to access their often-sophisticated feature set and, because of their small size, it’s not always easy for aging eyes to navigate the menus. Once set up though, level and transport buttons are usually easily accessible – although making changes to sample rate and ﬁle formats could prove frustrating when the pressure is on. These recorders often feature auto recording start after a set level threshold is reached, ﬁle editing, built in compressors, limiters, and automatic level control (ALC – shades of my old Phillips cassette recorder there!), which can be extremely useful when you’re capturing unknown sources. Some of these devices don’t only do audio; the Zoom Q3 is actually a pretty nice HD video camera hitched onto a high-quality stereo recorder. I often capture lectures and performances with the ALC switched on and I’m always impressed with the audio quality such a simple set-up can produce. The Zoom H2n allows you to record in several modes, XY stereo, twoand four-channel surround, and in Mid-Side, all wrapped up in a small lightweight package. Speaking of weight, quite a few low cost recorders suffer from handling noise issues, but I ﬁnd that screwing in an inexpensive tabletop tripod and using it as a pistol grip solves this problem.
COMPAC T STUDIOS
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 mixdown (32 playback channels + 8 input channels), dynamic and send effects, mastering effects including EQ, compression and normalisation, CD burner for mastering and backup, intuitive ease of operation …
24 tracks on SD/SDHC card, high-contrast LC colour display, dynamic and send effects, dedicated controls for direct access to EQ, panorama and effect send channel, CD burner for mastering and backup …
8 tracks + stereo master track on SD/SDHC card, built-in stereo condenser microphone, 2 XLR inputs with phantom power, reverb processor plus mastering effects, CD burner for mastering and backup …
© 2012 TEAC Corporation. All rights reserved. All speci cations 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: email@example.com Northern Area Sales Manager: Russ Fitton | Mobile: 07836-329281 | Mail: firstname.lastname@example.org | www.tascam.co.uk
www.tascam.co.uk | www.tascam-europe.com
Some recorders, such as the Zoom H4n, can record two channels via their internal microphones while simultaneously capturing two more via their XLR inputs. The H4n can also act as a multi-track recorder, Mid-Side decoder, and can also be used as a basic USB audio interface with a computer. The Zoom’s microphones are set in a close X-Y conﬁguration that attempts to limit any phase issues when recording, while the Tascam DR40 offers a novel microphone set-up that allows you to move the microphones from a X-Y to an A-B setting – and it also has a four-track capability and XLR microphone inputs. The Roland (Edirol) 09 builds on the successful R-1 and R-2 recorders and provides most of the features we’ve come to expect from these devices, but in an extremely compact package – and it also comes in red!
Move up the food chain and portable recorders start appear with two extremely useful features; XLR microphone inputs and/ or better ergonomic design. The aforementioned Zoom H4n is extremely popular with both environmental recordists and on-set sound engineers and, consequently, there’s a large add-on industry that has built up around the device. These include professional windshields, and my favourite accessory: a box that slips into the Zoom’s XLR inputs and provides connection and power for my DACS binaural microphones. Devices such as the Tascam DR100 offer choices of onboard microphone type (X-Y and omnidirectional in the Tascam’s case) as well as XLR inputs, but also all of the main controls for input/ microphone selection, level range, phantom power, and transport controls available on dedicated buttons – which I ﬁnd extremely 6
important in any situation where peering at tiny menus might be an issue. In my opinion, the microphones and pre-ampliﬁers on the DR100 are also signiﬁcantly better than those on the really low cost devices, as are those on the Marantz PMD661 and Olympus LS100 and the Sony PCM D50 – the latter having the advantage of two microphone pattern choices. Adding all these dedicated controls inevitably increases the size and weight of the device and most would need very big pockets for transport, so you’ll need to use a carry case for them. But the advantage that this increase in size brings in is in low handling noise levels, ease of use, and a feeling of quality that might have the unexpected consequence of increasing the conﬁdence your director has in your abilities! Professional recordists will ﬁnd that the most important features on their portable recorders will be clear metering, dedicated controls for setting for record and playback levels, along with other controls for useful day to day functions such as transport and limiting. Also important is a high-quality headphone output, and physical reliability and ruggedness. The Nagra LB is a two-channel digital recorder that takes this philosophy and runs with it. Built into a case that would survive being run over by Steven Segal in a Boeing 747, it’s a two-channel recorder with a huge, easy to read colour screen, dedicated controls for the most useful functions, XLR inputs and outputs, and high capacity rechargeable battery capabilities. However, though this machine has a single built-in electret microphone, it’s really designed to be used in conjunction with your DPA
or Sennheiser microphones on location. This is a trend that we see in the higher-end portable recorder market, and one which makes a lot of sense as you’re unlikely to be able to mount the recorder itself near the source and will usually be using a boom or radio microphones. The Sound Devices 702 also exempliﬁes this philosophy and is housed in a thoroughly rugged case and features a high resolution LED display, clear metering, and dedicated controls for the most used functions. Sound Devices’ microphone pre-ampliﬁers are amongst the best in the business, and what you’re effectively getting here is a set of boutique-grade preampliﬁers coupled to a solid state SD card-based recording system. The ‘T’ version can also handle timecode, while the 722 model records directly to a hard drive – I predict though that the boundaries between HD recording and SD and Compact Flash recording will blur in the future with manufacturers moving to Solid State Drives (SSD) when ultra-long or multi-channel recording times are needed. Speaking of Compact Flash, Tascam (which arguably started all this ‘recording to card’ malarkey in the ﬁrst place) produces the SSR200 rack mount stereo audio recorder that, apart from utilising the aforementioned storage method, is a high quality audio recorder with brightly lit chunky transport buttons and clear metering and display – perfect for use next to a console on a dim stage. Apart from balanced analogue and digital inputs and outputs, the SS-R200 accepts an IBM compatible keyboard, and a dedicated Tascam remote is also included. Unusually, there are also RS232 and parallel interfaces for direct computer control of the device. On lifting the Marantz PMD 671 out of its box I was overwhelmed by a strong sense of nostalgia for my old portable compact cassette recorder from the same company
that had accompanied me throughout my ﬂedgling recording career. The PMD 671 records to Compact Flash cards of course, but in other ways it’s similar to its mechanical predecessor with its chunky dual concentric input level controls and functions that are easily accessible when slung across the shoulder. Also, like its cassette-based ancestor, it features a speaker for on-site playback while its professional nature is emphasised by software based features such as Edit Decision List (EDL) and Broadcast Wave ID tagging. While the aforementioned devices are complete solutions, if you wish to simply record stereo audio on location, Zaxcom’s ZFR series are tiny Timecode based SD recorders that can be used, for example, where wireless reception to the main recording rig is poor or you need to capture audio remotely and unattended.
Back To Multi-track
If you want to capture a multi-track of a live band or you work in ﬁlm or TV production, you’re going to need more recording channels. If you’re on set, you might be recording several channels of audio from actors and also have to capture environmental atmos tracks. While many experienced engineers use portable mixers to produce audio pre-mixed for the dub, most will want to generate separate stems for at least the main actors on set. Most of the features and capabilities that you’d need for location stereo recording will also be needed for multi-track – apart for the need for internal microphones, as these recorders are usually going to be used with ﬁxed mics or wireless systems. Tascam’s DR-680 is, effectively, six DR-100s in a neat portable package intended to be slung over the shoulder. Six microphone pre-ampliﬁers (four on XLR, two on TRS) are
found on the side and dedicated controls for input type, phantom power and menu controls lie on the top of the unit, while the LCD screen/ meters and chunky transport are on the ‘front’ (or top when it’s in use.) The DR-680 records to six mono broadcast WAV ﬁles and generates a stereo mix automatically so you can get a rough off to your dub engineer right away. Its big brother, the HSP82, is a thoroughly professional machine with a price tag to match. Recording eight channels at up to 192kHz on to dual SD cards (for back-up,) its light yet rugged aluminium case can be run off multiple power sources, and it can accept timecode and word clock sources. Nagra’s VI is an eight-channel (four mic, two line, two mix) unit that brings the company’s renowned audio and build quality into the multi channel portable recorder market. It records to an internal 2.5-inch hard drive, and a copy can be streamed to the internal Compact Flash card for back-up and transfer. Features such as the ‘crackle free’ digital encoder system mean that it should perform reliably in any environment, and the recorder’s ability to chase timecode enables it to slip in nicely in any ﬁlm or TV production facility. Sound Device’s 744T is a timecode enabled four-channel multi-track recorder that captures audio on hard drive, Compact Flash, and external Firewire drives – or any combination of all three for redundancy and, as the need for power is everything on location, it can utilise standard Sony camcorder batteries. The two microphone inputs are of the quality to be expected from Sound Devices, while the two line inputs could be used to add an external sub mixer. If you need more recording channels, the 788T expands of its sibling’s capabilities with up to twelve
channels of audio including a stereo mix track and two aux ‘stems,’ along with the capability to handle AES42 standard digital microphones. Zaxcom’s range of portable multi-track recorders combine high quality internal mixing with dedicated faders alongside multi-track recording to Compact Flash cards. The Deva series are ten or sixteen channel units with up to twelve microphone/line inputs and multi-channel digital outputs. Unusually, the Deva units feature compressors, EQ, and delay on each channel, reducing the necessity for an additional mixing desk. The Nomad series are dedicated recorders – for example, the Nomad Lite is a ten-channel unit that also features DSP effects, internal mixing, and is capable of sending up to three stereo mixes to up to ﬁve outputs which might be to cameras on set, for example, while the Nomad 12 is, well, a 12-channel system. All of Zaxcom’s recorders come in small, light packages with all controls easily accessible. The Zaxcom Maxx is an example of the innovation ﬂourishing in the market and consists of a fourchannel audio mixer, RF transmitter, recorder, timecode reader/generator, and visual timecode slate all in one small package.
The portable recorder market is a mature one, with ﬁerce competition in the mid to low price sectors – which inevitably leads to the development of innovative features, as each company tries to stand out from the others. These range from the capability to record using multi-microphone patterns, to other more musician- and journalist-friendly capabilities such as multi-track recording, tuners, and automatic level controls. When we get up to the more ‘professional’ segment of the market, there are still several well respected companies vying for your interest, all of whom are producing machines capable of delivering multi-channel audio reliably to your dubbing engineers on a multi million pound feature. We’ve come a long way from clunky tape machines and even clunkier direct to video tape digital systems of the past, and the manufacturers of the current range of portable recording devices don’t look like they’ll be running out of ideas any time soon. 7
THE INTERNATIONAL RECORDERS BUYER’S GUIDE
+ + + + 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 engineers, this compact and lightweight mixerrecorder beneﬁts from 20 years of AETA Audio Systems’ expertise in high quality analogue and digital audio design. The 4MinX brings new solutions, power, and ﬂexibility, without compromising on the essential needs of ﬁeld recording: autonomy, audio quality, and user-friendliness. Whether broadcast or media industry (documentary, ﬁlm, music), the 4MinX opens new possibilities for production in different specialities. Combining the features of a multitrack recorder (two to eight tracks) and portable digital mixer, the 4MinX is ideal for stereo as well as multi-channel productions.
Through its superb audio performance, the 4MinX is ideal for the most demanding sound recordist to showcase their work. It combines 10 inputs (four Mic/Line, two lines, four digital channels AES3/AES42) and 12 outputs (six analogue channels and six digital channels AES3). Digital inputs also support AES42 for digital microphones (10V phantom power) without degradation. Gain/Trim/Filter controls are available on each channel in both analogue and digital modes. AETA AUDIO is renowned for producing high quality mic preampliﬁers. The 4MinX remains true to this reputation, and even offers the user an improved mic pre-amp audio speciﬁcation: • Maximum overall gain: 92 dB – useful for dynamic and ribbon microphones
• Four Mic/Line transformerless inputs – very low noise (-128dBu) but with great ﬂexibility of trim and excellent headroom (input headroom: 40dB, independent of input stage gain). It is suitable for all types of sound production, from standard mono, through stereo (X/Y or fully-featured M/S) to surround (A or B formats from our SoundField partnership, or Double M/S)
Designed To Be Robust, Easy To Use, And Open For Future Features
The construction uses a stainless steel chassis and carbon-ﬁbre loaded polymer casing, to give both lightness and durability. The result is surprisingly lightweight at only 2.1kg including the on-board battery! The design allows the unit to be used safely in extreme conditions (heat, cold, high humidity, shocks). The 4MinX is fully shielded against radio interference, and the casing has better resistance to denting and damage than heavier 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.
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 iXML format can be About AETA connector (located on the left AETA Audio Systems is French, and managed directly side) offers two additional on the 4MinX and is a leading international developer line outputs for wireless TX compatible with most of portable sound recording units, to camera, to the presenter’s post-production software. mixers, and advanced audio codecs, earpiece, etc. Receivers and The availability of an optimised for any kind of media and transmitters can be powered optional USB keyboard transmission infrastructure. “Made by from the 4MinX through this simpliﬁes metadata AETA” is a synonym for high quality connector; up to 6 Watts of management. and investment protection. consumption. A complete project From its very beginning in 1978, management system Recording satisﬁes the needs of the the company focused not only on The 4MinX uses an Ambient most demanding users developing innovative products, but Recording Time Code module and generates sound also on making them as small as – highly regarded within the report ﬁles automatically. possible allowing for mobile use and industry and used in ARRI easy handling. They have acquired cameras – to provide highFlexible and Powerful a considerable reputation in the accuracy LOCKIT TC. To design the 4MinX, audio ﬁeld. The time code module can we were not afraid to be used as a TC generator (all re-write the rulebook in Some references: video formats supported) or order to offer you more 1999: PSP3 – Stereo Pre-amp as a receiver to synchronise power and ﬂexibility. 2000: MIX2000 – four channel the 4MinX to any TC source. The routing capability Sophisticated project for each input and portable mixer 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 user to deﬁne what is sent to mix busses, and to analogue and digital outputs. No need to go back into the menus – personal conﬁguration snapshots
+ + + 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 + + + +
allow complete ﬂexibility of settings, and are simple to use. They give total freedom and users can save up to eight snapshots. With an optional 10-pin HIROSE socket, it is possible to handle camera return and dedicated communication circuits.
The 4MinX price is very competitive. With 4MinX you pay only for what you need, and what your budget can afford. The 4MinX is an “evolutive product”, allowing you to upgrade at any time after purchase. You can upgrade your 4MinX from two to eight tracks recording, or add Soundﬁeld monitoring with just a software upgrade, thus avoiding any return to the factory. AETA’s 4MinX was given an award for technological innovation by SATIS Trophies 2011 in France for its compactness and futureproof technology.
AETA Audio Systems 18-22 Avenue Edouard Herriot Parc technologique – Kepler 4 92350 Le Plessis-Robinson FRANCE www.aeta-audio.com t +33 1 41 36 12 00 F + 33 1 46 36 12 69 e email@example.com
THE INTERNATIONAL RECORDERS BUYER’S GUIDE
+ + + + 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 broadcast and high-end audio production users. The Munich-based ﬁrm are specialists in problem solving for broadcasters – for example by developing systems like Flashcast, which allows different codecs (in fact almost all proprietary systems) to recognise each other automatically: a godsend in the cut and thrust of broadcasting and newsgathering. The company has also been developing innovative hard and software products for in-house streaming, web radio, ISDN, other broadcast networking applications, and digital handheld recording. The original MAYAH Flashman recorder was one of the original
small, solid-state machines favoured by radio journalists the world over. One of MAYAH’s latest developments is the Impload Triple R, Rapid Remote Recorder. This is a system that allows remote audio recording via the Cloud (online) with the key feature being the low latency, or delay, of the playback. Studios and production facilities often need quick performer inputs from contributors and performers being situated in very remote locations, away from the studio. In the past the only solution has been to bring in the musician in – a costly and time consuming way to obtain what is often just a few bars of music.
With TripleR it now becomes much easier, less expensive, and far quicker to let the performer work from his home base or another studio location somewhere on the globe. TripleR combines the transmission of audio and also simple MIDI control through the Cloud. The performer can listen to live playback from the production software with a minimum of latency. By choosing the open source edge technology Opus codec algorithm, audio is sent through the Cloud with a minimum of latency and stunningly high quality. This is the ﬁrst product of its kind to offer a MIDI control data transfer, together with the 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 • USB device link
Photo: Cameron Whitman, 2010.
+ 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 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: • Combined XLR/balanced 6.3 jack socket • 2x Headphone out • Level Control • Mixing Control • Mic/Line Switch • Phantom Power • Mic Pad At the heart of TripleR is the OPUS audio codec, which runs with an extremely low latency without sacriﬁcing sound quality. This allows it
to be used for musicians to play together for a session, a recording, or a production. The audio will be in both directions, from the studio to the musician and from the musician to the studio in excellent quality and via regular Internet access. TripleR is not only capable of transmitting live streaming audio, but also MIDI control data between contributors and studio. The transport goes in both directions. Audio is sent from the production site to the musician who will play a MIDI device and use the Impload TripleR to transmit this control data to the studio.
MAYAH Communications GmbH Am Söldnermoos 17 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
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 of the hand. Besides its integrated stereo mics, the LS-100 also features dual XLR/Phone combo jacks to facilitate the direct connection with professional external microphones or other musical equipment. The durable and compact Olympus LS-100 Multi-Track Linear PCM recorder bestows musicians and broadcasters a high performance, mobile multi-track recording studio to fulﬁl all their needs - from a single track to a complete composition - boasting highest possible audio qualities.
LS-100 MULTI-TRACK LINEAR PCM RECORDER - MAIN FEATURES: Record superior quality sound Connect to professional audio with XLR Built-in sound on sound multitrack sequencer L/R independent recording
Capture your demos, interviews and gigs in high-quality audio
LS-20M HD SOUND AND HD MOVIE LS-11 AUDIO RECORDER
The LS-11 can record .wav ﬁles as high as 96 kHz/24 bit, as well as MP3 and WMA ﬁles in a range of bit rates. It comes with 8 GB of internal memory which can be expanded through the use of SD cards and includes an infra-red remote control, and Cubase LE software. The LS-20 offers the ability to also shoot HD movies to accompany your HD sound, the added full HD movie at 1920 x 1080P (30 fps) with image stabilizer allows you to live life on a ﬁlm set ready for ‘action’.
LS-20 MAIN FEATURES: Record superior to CD quality sound
LS-3 SMALLEST & SLIMMEST LS RECORDER
The LS-100 joins the recently launched LS-3 and LS-20 to offer a complete range; The LS-3 is the smallest, slimmest linear PCM LS recorder to ﬁt in your pocket and capture sounds and riffs on the go.
Shoot incredible full HD movies with magic movie effects Movie image stabilisation reduces camera shake PCM (WAV) and MP3 recording/playback format
LS IS More
What Musicians, journalists and podcasters have been waiting for
To see the complete LS range and full features, please visit www.olympus.co.uk/consumer/ls-series or email firstname.lastname@example.org for details
++++ 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: Eight Tracks and Two Channel Recording Capability
on the computer as 10 individual inputs and eight individual outputs.
This new multi-track SDHC/SD card recorder with On Board Mixing Capability eight-ch XLR inputs/outputs has the recording The on board mixing capability with fader, pan, capability of eight tracks + two channel EQ, and two channel mixing allows the user to stereo mix at 24-bit/96kHz, or four tracks at mix as well as record. Studio class effects such as 24-bit/192kHz – totally uncompressed recording three-band EQ, six-band GEQ, enhancer or deof broadcast wave ﬁles assuring outstanding esser can be used as tools to perfect the audio sound quality – with quality of the recordings. selectable bit depths Effects can be applied while About Roland (16-bit or 24-bit), and recording or simply for Roland Systems Group is dedicated sampling frequencies monitoring/playback. to supporting audio and video (44.1kHz/48kHz/88.2kH professionals who demand excellence z/96kHz/192kHz). Fully Compatible with SMPTE in terms of performance and system The R-88 has eight Timecode design by consistently providing the XLR inputs, each with The R-88 is fully compatible entertainment industry with the most with SMPTE timecode, and can phantom (+48V) creative and technically advanced and onboard effects act as slave (with timecode products. Offering solutions to including limiter regeneration on the timecode and low cut on each many markets including broadcast, out), or as master to enable channel. The built-in a fully synchronised video education, live production, theatre, limiter helps deliver workﬂow. Further workﬂow visual performance and worship, a stable and reliable aids are included such as Slate Roland System Group provides recording free of facility from onboard mic for intuitive, ﬂexible products that can clipping noise from memo recording or Slate tone be used in standalone or system sudden input surges, (1kHz/-20dBFS), and a jack conﬁgurations using the V-Mixing whilst the low-cut ﬁlter input, which allows control System, Digital Snakes, or S-MADI is included to help of play, record, rewind, and connectivity. prevent things like wind more via optional or dual noise or mic handling footswitches. noise, both greatly The USB host terminal of the R-88 enables improving the audio quality. high speed and instant back-up of recorded data to affordable and easy obtainable media like SDHC/SD Card Recorder Flash memory, memory cards via card reader, or 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
to a video camcorder or DSLR, simultaneously recording each microphone audio signal for subsequent post-production. For surround recording on location, six channel surround microphones can be connected to the R-88, providing two-mix monitor on headphones. For concert recording with multiple microphones, the microphones and PA outputs are connected to the R-88. The R-88 records each individual channel and two-mix from the microphone inputs at the same time.
With rugged construction, an extended feature set, and superb sound quality, the R-88 Eight Channel Recorder and Mixer enables recording of up to eight channels at 24-bit/96kHz, as well as the ability to provide simultaneous two mix sound. Complementing the existing award winning range of Roland portable and hand held audio recorders, the R-88 addresses the market need for a portable recording and mixing solution for situations where there are multiple microphones on location, and music recordings with more than four microphone channels. Designed for a variety of professional needs, such as recordists who currently record with twomix but want to switch to multi-channel recording, and for those who need more than their existing four-channel recorder, the R-88 is an affordable solution.
R-26 Hand Held Recorder – Professional Portable Device
AND SYSTEMS GROUP++++ROLAND SYSTEMS GROUP++++ROLAND SYSTEMS GROUP++++ROLAND SYST
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 UK: Roland Systems Group Metropolis Studios, The Power House, 70 Chiswick High Road, London W4 1SY Tel: +44 (0) 1792 702701 w www.rolandsystemsgroup.co.uk e email@example.com US: Roland Systems Group 801 West Orchard Drive, Suite 3 Bellingham, WA98225 t +1 (360) 5944282 w www.rolandsystemsgroup.com e firstname.lastname@example.org
The R-1000 is an intuitive, standalone, dedicated recorder/player designed to work with the V-Mixing System in any live event or production, making it ideal for virtual rehearsal, rehearsals, playback, and training. It can also be used with any digital console with a MADI output via the Roland S-MADI REAC MADI Bridge. Based on REAC (Roland Ethernet Audio Communication), the R-1000 eliminates the bulk and noise susceptibility typically associated with analogue snakes and replaces it with Cat5e/6 (Ethernet/LAN) cable. Recording up to 48 tracks of 24-bit audio in BWF format, its removable hard drive ensures smooth integration 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 function enables playback at any designated point. Data can be loaded from external devices, and analogue monitor and headphone outputs are provided, along with USB ports for backing up data and connecting a PC for further software control, plus a versatile feature set that includes video sync, timecode, GPI, and RS-232C. THE INTERNATIONAL RECORDERS BUYER’S GUIDE
++++ 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 featureset paradigms of all previous generations of audio recorders.
CL-8 Controller with Sound Devices 788T Digital Recorder.
Sound Devices’ digital recorders are designed speciﬁcally for documentary and feature ﬁlm/ video production, sound effects gathering, and live multi-channel music recording. The 7-Series recorders include high-performance, highresolution analogue microphone preampliﬁers. Developed for high-bandwidth, high bit-rate digital recording, these preamps set the standard for linearity, distortion performance, and lownoise gain. Sound Devices’ two-input (702, 702T, 722), four-input (744T), and eight-input (788T) recorders write and play audio ﬁles with either 16 or 24-bit depth at all professional sampling rates, up to 192 kHz (96 kHz on the 788T). Multiple storage mediums, analogue/digital I/O, and high-speed computer connectivity make 7-Series recorders stand out as world-class products.
7-Series recorders are controlled by a fast and intuitive user interface, with easy to access buttons and an informative LCD display and LED metering. All controls can be accessed on the front panel of the unit. Created with documentary, ENG, and feature ﬁlm recording engineers in mind, Sound Devices keeps its recorders as small and lightweight as possible without compromising sonic performance. No other audio recorders approach their size/performance ratio. The 788T can easily ﬁt into a standard production audio carry case such as the CS-5, and weighs less than four pounds. All other 7-Series recorders weigh less than three pounds and easily ﬁt in an accessory pouch. The 7-Series records Broadcast WAV ﬁles (with iXML Metadata) to CompactFlash cards on all recorders and to internal hard drives on the drive-equipped 722, 744T, and 788T (160GB). Audio ﬁles can be transferred over FireWire (USB 2.0 and FireWire 800 on 788T) to a Windows PC or Mac OS computer for post-production or archiving. While the 7-Series recorders are very capable tools alone, they excel when used in conjunction with Sound Devices 552 and 664 audio mixers. Using an external mixer extends the ﬂexibility of the recorder and gives the next level of audio I/O and control.
Two-Track Recorders – 702, 702T, 722
track ﬁle-based digital audio recorder, while the Sound Devices 702T adds time code. The time code implementation makes the 702T perfect for any double-system video or ﬁlm production application. Sound Devices 722 is designed with an internal hard drive for extended recording time. These compact, two-track devices record and play back audio to CompactFlash cards and/or external FireWire drives (as well as internal hard drives for the 722), making ﬁeld recording simple and fast. They record and play uncompressed PCM audio at 16 or 24 bits with sampling rates between 32kHz and 192kHz. Compressed MP3 audio and data-compressed FLAC recording and playback are also supported. Removable, rechargeable batteries are a standard Sony-compatible Li-ion camcorder cell. The CompactFlash card appears as a removable storage device when connected via the FireWire port to Windows or Mac OS computers.
Four-Track Recorder – 744T
Sound Devices’ two-track recorders are powerful ﬁle-based digital audio recorders. Sound Devices 702 is a two16 PROMOTIONAL FEATURE
Sound Devices’ 744T is a powerful four-track ﬁle-based digital audio recorder. The super-compact 744T records and plays back audio to and from its internal hard drive, CompactFlash cards, and external FireWire drives. It records and plays uncompressed PCM audio at 16 or 24 bits with sample rates between 32kHz and 192kHz. Compressed MP3 audio recording and playback from 64kb/s to 320kb/s and data-compressed FLAC are also supported. The time code implementation makes the 744T ready for any recording job – from over-the-shoulder to cart-based productions.
664 Field Mixer with Integrated Multi-Track Recorder
EVICES++++SOUND DEVICES++++SOUND DEVICES++++SOUND DEVICES++++SOUND DEVICES++++SOU
The new 664 Field Mixer integrates a high-performance multi-track recorder with its powerful mixing capabilities. This combination makes for a light-weight, all-in-one portable mixer for both small and large productions. Its six full-features inputs with phantom, limiters, dual-stage gain, high-pass ﬁlters and pan, plus its four output busses, are all recordable, for 10 tracks of uncompressed broadcast WAV recording. Like the timecode-enabled 7-Series recorders, the 664 integrates a high-precision time code generator. The available CL-6 Input Expander adds six line-level inputs, providing for 12 inputs. With the CL-6 attached, the 664 records up to 16 tracks.
Eight-Track Recorder – 788T
Intended for on-location, multi-track productions, the eight-input, 12-track 788T features a signiﬁcant expansion of input and output capability – eight full-featured microphone inputs and 12 tracks of recording. The eight inputs, together with a ﬂexible digital architecture, provide unprecedented recording ﬂexibility. The added I/O, new architecture, and powerful accessories such as the CL-8 and CL-9 controllers, make the 788T suitable for a wide range of applications. To accommodate the larger data storage requirements of multi-track recordings, the 788T comes equipped with either a 160 GB 2.5-inch internal SATA hard disk drive or a 256GB SSD (788T-SSD). Hard drive-equipped recorders provide up to 30 hours of eighttrack, uncompressed 24-bit audio recording of industry-standard Broadcast Wave ﬁles. Additionally, CompactFlash cards with UDMA support and external FireWire mass storage volumes can be used for recording and
The 788T is a powerful eight input, twelve-track digital audio recorder designed for production sound.
playback. All three storage mediums can be selected for simultaneous, redundant recording. As with the 702T and 744T’s time code recorders, the 788T has a high-performance, full-featured time code generator. It is also equipped with selectable word clock sync source, including numerous video sync sources. The 788T is powered by 7.2 V Li-ion batteries or external DC (10-18 V) and offers an on-board Li-ion battery charger. The CL-8 Controller for the 788T Digital Recorder is a portable mixing control surface companion for its 788T recorder, which provides additional capabilities to the 788T without a signiﬁcant increase in weight, making it
adaptable to a variety of ﬁeld productions. The CL-8 features eight large, rotary faders to control the eight inputs of the 788T. It offers command over numerous input settings, including high-pass ﬁlter, limiter, polarity, and mute. When used with the CL-8, the original 788T input controls function as input trims, and the CL-8 controls offer fader control. With the CL-8 users now have access to four additional recording tracks (eight ISO tracks, L/R master, and Aux 1 and Aux 2) through the CL-8’s associated ﬁrmware, for a total of 12 record tracks. The CL-8 is connected to the recorder over a USB connection and it includes a USB keyboard pass-through port.
Compact, linear fader controller with enhanced monitoring.
Sound Devices, LLC., P.O. Box 576, E7556 State Rd. 33, Reedsburg, Wisconsin 53959 USA w www.sounddevices.com t +1 (608) 524 0625 f +1 (608) 524 0655
THE INTERNATIONAL RECORDERS BUYER’S GUIDE
+ + + + Y E L LO W T E C + + + + Y E L LO W T E C + + + + Y E L LO W T E C + + + + Y E L LO W T E C + + + + Y E L LO W T E C + + + + Y E L LO W T E
iXm: Capture Pristine Audio in any Location.
Designed and engineered to create perfect location recordings, the iXm is a revolutionary product developed inside the most familiar of audio devices – the microphone. With switchable, professional microphone heads by Beyerdynamic and an intuitive SD recorder, the iXm allows you to capture your best interview ever with perfect audio levels at the push of a button. It’s never been easier to record pristine, broadcast-ready audio on location.
Meet LEA: Perfect Levels, Every Time
When we designed the iXm, we set out to make the ﬁnest recording microphone ever. One of our most challenging requirements was to ensure perfect auto levelling in any environment. The result was an excitingly innovative processor we call the LEA engine. LEA analyses RMS level and transients, comparing the signals to calculate a well-balanced analogue gain level. Whether recording a whisper or a scream, you will always capture perfect levels with no clipping. LEA lets you capture amazing recordings under the most stressful conditions without AGC or artifacts. Take an iXm to the most demanding locations and you will be amazed.
Hello Easy Dashboard. Goodbye Complex Display
One of the things you’ll notice about the iXm is that we’ve made it extremely easy to use. Since a major part of our design goal was accomplished with LEA, we could eliminate the display and design a dashboard of three lightup icons. Because you don’t need to constantly monitor levels, you only need three intuitive indicators: Recording Status, Battery Status, and Memory Status. And our dashboard is where you expect it, well-positioned and always visible. There is no better way, day or night, to keep your recordings under control. Freed from monitoring, you can concentrate on your interview for a better, more personal recording.
Under Your Thumb: Silent Buttons
What sounds like a miracle is just our clever engineering. Whenever you start a recording you add up to 30 seconds of previously buffered recording. And thanks to our silent buttons you will hear no clicks even if you triggered your recording “after” the interview started!
An incredible amount of design attention was put into every detail of the iXm. The buttons are smooth and produce no handling noise. Yet they are also rugged to survive repetitive ﬁeld operation. They are large, so you can be conﬁdent during recording. And they are dust and waterproof to cope with any environmental hazard. The result was worth it: Record and Stop buttons exactly where you expect them, working just as you require. The iXm truly puts control under your thumb!
Always Just In Time
Unbeatable Stamina With Options
With an adjustable “pre-roll” recording buffer, you’ll never miss a conversation. PROMOTIONAL FEATURE
Our unique dual power supply offers an unbelievable total operation time of up to 16 hours. Further, you can choose your primary power source. Because the iXm comes with a built-in, rechargeable lithium-ion battery and a battery compartment for three standard AA cells, you get power assurance on location. Our intelligent power management will automatically load-balance power sources without asking for your attention. And in the unlikely event you ever run low on power, your dashboard warns you well in advance, so you can replace the AA batteries for another eight hours of operation.
Our Cooler Heads Prevail
E C + + + + Y E L LO W T E C + + + + Y E L LO W T E C + + + + Y E L LO W T E C + + + + Y E L LO W T E C + + + + Y E L LO W T E C + + + + Y E L LO W
Our Twist-Off-Twist-On (TOTO) exchangeable mic heads give you the options you need to perfectly match your recording environment. Whether you require a cardioid, super-cardioid, or an omnidirectional pick-up pattern, you can easily change it right on the spot. Our TOTO auto sensing detects which type of mic head you’re using and automatically adapts the DSP to the right parameters. No need for any manual settings!
Playback In The Field
Listen to your recordings during a ﬁeld check using the built-in headphone output. Use the playback keys to jump from track to track. When you do, you will experience another great design element of the iXm: human voice announcements guide you through your each recording. No need to follow track indicators. Could you imagine anything easier?
Port Panel: You’re Free to Go
Storage and Memory: SD or SDHC
The port panel on the bottom of the iXm holds all the interfaces. You will ﬁnd a USB 2.0 port for downloading your recordings and recharging the internal battery. Use this port to conﬁgure your iXm for your individual preferences. The SD card slot is well protected against accidental ejection. An integrated headphone output makes your ﬁeld check easy. We’ve also included a 3.5mm jack for recording line levels, a valuable feature if you want to use iXm to record a supplied mic feed during press conferences. We’ve even included a connector for use with an optional speed charger.
Finally, as we strive to make your work easy, secure, and reliable, iXm uses a built-in SD/SDHC memory card slot. Recording capacity is based on widely available SD and SDHC cards with memory capacity of up to 32GB. When you share iXm with others on a team, take your SD card with you and use it with any external SD-card reader. Or, if you do not wish to swap memory cards, download your recordings via USB to a computer for sharing and editing.
Full Metal Jacket
Yellowtec Heinrich-Hertz-Str. 1-3 D-40789 Monheim am Rhein Germany t +49 2173 9673 0 e email@example.com UK Distributor: HHB Communications Ltd. t +44 (0) 208 962 5000 e firstname.lastname@example.org US Distributors: Broadcasters General Store t +1 352 622 7700 w www.bgs.cc SCMS Inc. t +1 800 438 6040 w www.scmsinc.com
The iXm’s body is constructed of solid aluminum and coated with a smooth, touch-friendly and wear-resistant ﬁnish. The dashboard and the playback keyboard are embedded in precision milled pockets that are completely waterproof. A true engineering achievement in both materials design and technology, the iXm is as durable as it is usable. With its easy functionality, industry-ﬁrst features, and robust design, the iXm is ideal in the most demanding environments you can imagine.
THE INTERNATIONAL RECORDERS BUYER’S GUIDE
Zaxcom – Audio Innovators for Film and Broadcast Production
Zaxcom Inc. is a ground breaking creator of professional audio equipment for ﬁlm and television production.
Zaxcom, Inc. designs and manufactures innovative professional audio equipment for the television and ﬁlm industries. The US company is a pioneer in audio technologies for sound mixing and ENG professionals. It engineered the ﬁrst digital wireless microphone and the ﬁrst wireless microphone to feature integrated audio recording. The ﬁrm was founded in 1986 by Glenn Sanders. He started Zaxcom after working in post-production and seeing the need for a piece of equipment to create a more efﬁcient workﬂow. He went on to build the ﬁrst TBC System (Time Base Control System) used for video editing. The TBC System became an industry staple and won the Emmy for outstanding achievement in Engineering Development in 1989-90. The company then took a different course and began making gear for the professional audio industry. In 1992, Zaxcom introduced its ﬁrst full feature digital audio mixer for post-production: the DMX1000. In 1995 the six-channel digital mixer, Arria, was introduced. Arria was expanded in 1998, becoming the Arria HD, an eight-channel expandable digital audio mixer designed speciﬁcally for high deﬁnition edit suites and live applications. In 1996, Zaxcom began work in the ﬁeld they are experts in today: location audio. Glenn Sanders, President, and Howard Stark, Chief Engineer, designed, developed, and manufactured the Deva, the ﬁrst four-channel portable hard disk recorder. Deva has since changed the way professional location recording is done and is used across the ﬁlm and TV production industry. In 1999, two digital mixers were released, the Cameo LRC and Cameo SV. 20
The Nomad Range
Zaxcom’s Nomad is a complete location sound recording system for video productions. It provides all the functionality necessary to mix and record in a power efﬁcient space-saving package. It comes in a range of models: Nomad 12 is the top end machine. It has a complete set of DSP effects to give you the tools to not just mix and capture tracks but to provide a level of quality not possible with analogue-based mixing. 12 recorded tracks, ZaxNet, NeverClip™, auto-mixer, linear fader control (with Mix-8), visual timecode slate, and MARF ultra high reliability ﬁle system are some of the unique features that add to the value of Nomad 12. A combination of compact size, light weight, low power consumption, and integrated features make Nomad 12 the perfect choice for any sound bag or cart. All mixing and monitoring functions are directly accessible from the control panel. Nomad 12 offers the right combination of track count, DSP effects, analogue inputs, mix busses, and digital mixing at an unmatched price point. The Nomad 12 mixer can send three independent stereo mixes
to ﬁve cameras. It will record 12 tracks from its internal mix busses. All 10 analogue inputs are instantly available for control via the six rotary faders and the menu encoder. This eliminates the need for external add on fader hardware keeping Nomad 12 as small and light as possible. All of the mixing functions can be stored in memory for instant access or stored to an external memory card. There are a number of other models within the range to match both budget and technical requirements of the end users. The Nomad 10, for example, offers an impressive ten recording tracks and 16 mix busses (to the 12’s twelve and eighteen respectively). And the entry-level machine, the Nomad Lite, still packs an impressive punch, offering recording at 96kHz, six hardware faders, and digital mixing.
recorders 2012 2013
Company History STA042 AES Adaptor All Digital Sound Bag to Camera Glenn Sanders, President of Zaxcom, ﬁrst launched the company in 1986 to introduce Zaxcom recently introduced a new a workﬂow-control system for video editing. The TBC (time base control) system addition to its professional audio quickly became an industry staple and received an Emmy Award for outstanding equipment family, the STA042 achievement in engineering development in 1989. digital stereo adaptor. The STA042 In 1992, the company ﬁrst addressed the professional audio market and has since allows ENG audio professionals introduced a number of systems designed to help audio professionals keep pace with to transform an existing singledevelopments in digital and HD broadcasting. channel Zaxcom TRX900/ Sanders and Zaxcom Chief Engineer Howard Stark embraced on-location audio TRX900AA wireless transmitter into in 1996 with the introduction of the Deva four-channel portable hard disk recorder. a digital two-channel transmitter This unique product received the Scientiﬁc and Engineering Award at the 75th Annual sound bag-to-camera link. Academy Awards in 2003, and was recognised with a Primetime Emmy Engineering Pairing a TRX900AA and QRX100 Award in 2008. Frequently a pioneer in the audio industry, Zaxcom engineered with the STA042 forms a one the ﬁrst digital wireless microphone and the ﬁrst wireless microphone to feature Zaxcom Maxx hundred percent digital audio integrated audio recording (patent pending). The Zaxcom Maxx is a powerful rates up to 192kHz. Maxx comes standard There is also a six-channel transmission system. new tool for ﬁlm sound Each input channel has a high with the ability to record the recording option giving you the recordists: it’s an audio mixer, pass ﬁlter, two variable notch two-channel mix output on ability to record four pre-fader RF transmitter, recorder, ﬁlters, variable delay, and a soft a CompactFlash or SD card). tracks along with the twoanalogue mic/line inputs timecode reader/generator, and knee compressor. Files can be recorded at up ZFR100 channel mix. to with 48-V phantom power, Zaxcom’s ZFR100 is a miniature timecodevisual timecode slate The Maxx’s built-in RF 24-bit/192kHz with a dynamic Maxx can also record MP3 four analogue line inputs,all in one referenced audio recorder. The ZFR100 can be small package. transmitter is designed to be range of 137dB. transcription ﬁles with a linear and eight digital inputs. used in a sound bag, worn on the body as a The Maxx has used as a wireless camera timecode track. A 16-channel, 24-bus four full size belt pack, or applied to any other application digital mixer is built into level XLR analogue mic/line link. This eliminates the that requires a timecode-referenced audio Fusion – 10 track solid state audio recorder. theinputs with 48 V Phantom power unit, providing EQ, possibility of level mismatch recording. The ZFR100 can record up to 12 recorded in Zaxcom’s proven MARF ﬁle system, notch ﬁlter, compressor, Nomad’s that incorporate the and audio distortion hours of audio directly to a removable 2GB which safeguards audio recordings even in the and delay functions on each channel. microphone pre-amps with common to unbalanced MiniSD Flash media card. With Zaxcom’s event of power loss. trademark fault-tolerant recording, no audio is NeverClip™ clip-protection. connections between With an intuitive touch screen interface, Fusion lost even in the case of an ejected memory card The four input channels can separate mixer and RF users to enter metadata directly, Fusion allows Zaxcom’s Fusion provides a revolutionary or accidental power-down. be mixed to a range of outputs, transmitter keeping the system light and portable. combinations. approach to on-location, multi-track sound The ZFR100’s full-featured timecode reader/ running at all broadcast sample Fusion supports inﬁnite mixing of any input to mixing and recording. As a completely generator ensures perfect synchronisation with any recorded track or output – pre-fader, portable, solid-state solution, Fusion blends recorded audio, with an accuracy of one frame post-fader, or phase inverted. This feature, the performance characteristics of hard-disk every 12 hours (.7716 PPM). The recorder can along with eight output mix busses, allows the recorders with the mobility of sound bag 2001 brought the Zaxcom Digital Wireless generate broadcast .WAV ﬁles or MP3 ﬁles at system2004, the next generation of Deva was systems. The result is athe ﬁrst time digital to the market. It was best-of-both-worlds In to support newer cameras that feature 48kHz/24-bits. Ultra-compact for use in virtually four or more recording channels. V. They boast product ideally suited for over-the-shoulder modulation was used on a professional released – the Deva IV and Deva any application, the ZFR100 weighs about four recording and mixing for reality television, bodypack wireless system. an intuitive colour touch screen, an optional ounces, and can be powered for up to 24 hours Fusion Features: drive, and can record up electronic newsgathering (ENG), and other At the 75th Annual Academy Awards in internal DVD-RAM on just two AA batteries or indeﬁnitely via an • Operation at up to 192kHz, whichwireless mobile video productions. of Motion Picture March 2003, The Academy to 10 tracks of audio. Stereo ENG is necessary optional 8- to 16-V DC power input. The ZFR100 for sound effects For the ﬁ Fusion provides reliable performance by Arts and Sciences presented a Scientiﬁc and was also released. recordingrst time you could uses a single mic-level unbalanced input for use • A 16 input mixer withof audio using one eliminating hard-disk recording and other Engineering Award Academy Plaque to Glenn transmit two channels 16 output busses with lavalier microphones. • The capacity to mixreceiver, making the perfect moving parts.Howard Stark of Zaxcom for Sanders and This, paired with minimal power transmitter and one all 16 analogue and digital inputs link. consumption,design, and engineering of the the concept, ensures that Fusion gives off bag to camera at the same time • Output softZaxcom released the Deva Mixalmost noDeva Digital Audio Disk Recorder. portable heat, for ﬂawless operation in even In 2006, knee compressors and output buss on every recorded track (with the effects the mostplaque reads:settings. Fusion’s design The demanding “This innovative solid12, a mixing panel for the Deva IV or V and its package) state recording also hard disk recordingis far employs advanced means the system second generation of wireless, the TRX series, • Eight XLR inputs, a wireless microphones. more tolerant to digital audiohigh G force.for technology and motion and techniques featuring recording key feature that allows user tocompany’s current product range spans Fusion’s production and post-production use in both world-class microphone preThe quickly move an input from one CONTACT DETAILS channel to another. amps ensure robust sound, low noise, and low recording applications.” wireless transmitters receivers, recorder/mixers, Zaxcom, Zaxcom Inc. • Camera return and and control surfaces that distortion. Fusion records to two CompactFlash That summer Zaxcom moved from miniature recorders, camera monitor facilities, 230 West Parkway, Unit 9 230 West Parkway, Unit 9 Pompton Plains, including two return inputs machiners. cards simultaneously, providing full redundancy Midland Park, New Jersey, to its current integrate with other Zaxcomthat are monitored Pompton USA NJ 07444, Plains, NJ 07444 in Zaxcom has grown from one man’s desire mono mode. and ﬂexibility in the Plains. The space grew to facility in Pompton case of a media failure. tUSA 973 835 5000 +1 • Software-conﬁgurable metering ofto become The system can the company’s to the backup accommodate even copy ﬁles growing staff to do things better in video editing the camera t www.zaxcom.com w +1 973 835 5000 send, ensuring it will never be obsolete.lm and memory card at the same time as it recordsto and production line, which was expanding a respected and admired staple of the ﬁ
new material tofor Zaxcom’scard. All ﬁles are meet demand the primary products.
broadcast sound industry.
f +1 973 835 6633 e email@example.com w www.zaxcom.com
THE INTERNATIONAL RECORDERS BUYER’S GUIDE THE INTERNATIONAL RECORDERS BUYER’S GUIDE
Recorder Manufacturers Directory
AATON ALLEN & HEATH JOECO LTD. MARANTZ PROFESSIONAL MAYCOM AUDIO SYSTEMS
Based in Grenoble, France, Aaton is the manufacturer of a range of audio-visual equipment. Founded by JeanPierre Beauviala, the company has produced a range of quiet, portable hardware for location recording. Aaton’s ﬁrst product targeted at sound engineers was the OriginC+, a timemarking system for location recorders. More recently, the company has produced Cantar, an over-the-shoulder 8-track mixer and recorder.
The ICE-16 is the new multitrack recorder from Allen & Heath, a company that has made its name in producing quality mixers for the past 40 years. Designed in the UK, A&H products can be found in a wide range of locations around the world, including touring, theatre, and houses of worship.
JoeCo has been founded by Joe Bull, formerly Managing Director of Studio Audio & Video Limited, the creators of the SADiE Workstation range. Prior to SADiE, he worked as an Audio Engineer both in the studio, and mixing live concerts and festivals. This legacy brings a wealth of experience built up over 30 years of recording and capturing the best performance possible.
AETA Audio Systems is a leading international developer of portable sound recording units, mixers and advanced audio codecs. It produces the Mixy, 4Minx, and Scoopy+.
Founded in 1973 as a speaker component retailer, Fostex has adapted to changing technologies. Although the company still produces speaker components, Fostex made a successful transition to digital in 1995. Recent recording products include the UR-2, a 1U rack size stereo audio recorder with SD and USB storage. Its professional portable range includes the PD606 and PD204 location recorders, and the FR ﬁeld recorders.
Marantz Professional is part of D&M Holdings Inc. Marantz focuses on high-end audio products, recently producing the PMD661; a professional handheld PCM/MP3 recorder. Superseding the PMD660, this product offers an improved form factor, superior feature set, and the use of SD Flash media. It also features an integrated stereo condenser microphone-array for point and shoot recording, and balanced mic and line XLR inputs.
Maycom grew its reputation with custom-made radio automation systems for broadcasting stations. Since then, it has released a series of location recording equipment. Most recently, Maycom has produced the N>Trans, a Compact Flash-sized audio card that allows laptops and PDAs to be used as location recorders.
IZ TECHNOLOGY CORP.
In 1974, brothers Phil and Terry Clarke founded Klark Teknik Research Ltd. It was their concepts for graphic EQ devices that really made a name for the company, with the production of the DN370 and DN360. Klark Teknik continues to innovate in both the analogue and digital realm of audio signal processing. The DN9696 is the company’s high-resolution audio recorder. It offers 96 tracks of 96kHz audio at 24-bit, with nine hours of internal storage.
www.klarkteknik.com KORG CORPORATION
AEQ has been developing, manufacturing, and marketing equipment for radio, television, and multimedia for over 25 years. The company has recently developed the PAW 120, a portable AEQ recorder with voice activated recording and XLR adapter for the use of external microphones.
iZ Technology was originally formed as a ﬂedgling company of Creation Technologies, and consisted of Barry Henderson and the team responsible for the RADAR I and RADAR II hard disk recorders. In more recent years, iZ Technology has expanded its RADAR line to include the Adrenaline Plusdriven RADAR V line. There are now 2500+ RADAR units being operated in recording studios around the world.
M-Audio is a provider of creative tools for computercentric musicians and audio professionals. The company has independent ofﬁces in the US, Canada, UK, Germany, France, and Japan. M-Audio aims to empower musicians to create, perform, and record with complete mobile hardware/software solutions that change when, where, and how music is made. Recent recording products include the MicroTrack II; a handheld location recorder.
Nagra Audio has developed a complete range of analogue and digital recorders. Equipment such as the Nagra 4.2 and the Nagra IV-S Time Code are benchmarks in sound recording for ﬁlm. In 2008, Nagra introduced the Nagra VI multi-channel digital location recorder; a continuation in the tradition of robust units for on-location recording.
Korg Corporation is a Japanese manufacturer of audio tools. Founded in 1962 as Keio Electronic Laboratories, the company originally produced rhythm machines before its ﬁrst major success with a series of programmable organs and synthesisers. It went on to become one of the world’s premier manufacturers in synth, sampling, and electronic music products.
In 1997 Mayah produced its ﬁrst audio codec, and since then has expanded its range to include the most recent new ﬁrmware generation 4.0 for C11, SPORTY, and FLASHMAN II with extended features
Olympus is undoubtedly best known as a camera manufacturer. However, the company has also produced a signiﬁcant range of analogue and digital handheld recorders. A recent addition to this range comes in the form of the DS-71. This linear PCM professional dictation device records with a 44.1kHz/16-bit sampling rate, and offers 4GB of internal memory – equating to the potential for over 1,060 hours of recording.
RECORDER MANUFACTURERS DIRECTORY
ROLAND SYSTEMS GROUP SADIE TASCAM/TEAC PROFESSIONAL YELLOWTEC ZOOM
Roland was established in the 1970s, and today produces professional products for the audio and visual industries. 1972 saw the ﬁrst branded goods released, with the TR-33/55/77 rhythm machines. Their range has since expanded to include the current Sonar REAC recording system and V-Studio 700.
Based just north of Cambridge, SADiE shares its main production and R&D facilities with Prism Sound. SADiE aims to provide its customers with the best tools for the task, whilst ensuring the sonic integrity of the program material. Recent recording products from SADiE include the LRX2, a location audio workstation for the production of location multi-track audio recordings to be released on distributed media.
German audio-visual technology manufacturer Rosendahl Studiotechnik produces a range of equipment for recording pros. In addition to a selection of time code boxes, the company is responsible for the bonsaiDRIVE hard disk recorder, a portable video and multi-track audio hard disk recorder. It functions as a stand-alone hard disk recorder and portable media storage device, eliminating the added size and weight of a removable hard disk.
Sony Professional is a long standing leader in the manufacturing of electronic equipment for media, broadcast, and installation markets with a diverse product portfolio that includes cameras, displays, microphones, wireless systems, and much more. Its recorder products include the PCM-D1 and PCM-D50 handheld devices.
TASCAM is one of four divisions of TEAC Corporation, a $1.2 billion manufacturing company headquartered in Japan. During TASCAM’s formative years in the early 1970s, the music scene was ﬂourishing, but musicians were restricted by the expense of professional recording. It was the company’s goal to manufacture affordable recording equipment that offered the quality of professional studio equipment. Recent recording products include the award winning DVRA1000HD; and the DR-1 and GT-R1 portable recorders, plus new launches at NAMM 2009.
Yellowtec is a brand of the German-based Thum + Mahr GmbH, one of Europe’s leading system integrators for broadcast faciities. Yellowtec’s slogan is ‘simple and smart’, with the deﬁning principle of keeping its products simple to use. All of its products, including the iXm recording microphone, reﬂect this design notion.
Zoom is a Japanese audio company that produces equipment for both the consumer and professional markets. Its product inventory includes effects pedals for guitars and basses, location recorders, drum machines, and microchip processors. Recent recording products from Zoom include the H2 and the H4 Handy Recorder; a handheld digital audio recorder, featuring built-in condenser microphones in an X-Y stereo pattern.
VB Audio has been producing audio tools for the industry since 1999. It produces the M128 software-based recorder, designed from the ground-up to be robust, ﬂexible, and top-quality.
Sound Devices, LLC, was founded in 1998 as a manufacturer of ﬁeldproduction audio products. Sound Devices’ growing family of audio mixers, digital recorders, pre-amps, and computer interfaces are now used by production professionals worldwide. The company produces digital recorders such as the 744T and 788T, for documentary and feature ﬁlm production, sound effects gathering, and live music multi-channel recordings.
Over the past 100 years, Yamaha has grown from the manufacturer of Japanese reed organs to a multinational corporation with a huge range of products. Audio products from this company include the AW1600 and AW2400 digital audio workstations. The AW2400 is the ﬂagship of the AW line with 24 simultaneous tracks of playback, and motorised 100mm faders. New from Yamaha is the Pocketrak 2G, a handheld digital recorder with internal stereo microphone.
You/Com started out as a trading company, supplying data-and telecoms solutions to the corporate industry. Today, the company is also a manufacturer of hi-ﬁ audiocommunication equipment. The ReporterMate is a PCMCIA Flash-card recorder with FTP audio transfer and non-destructive editing. It also features a mixer with gain, compression, limiter, and a voice-over mixing function.
Zaxcom was founded in 1986 by Glenn Sanders, a postproduction professional who saw a need for equipment to create a more efﬁcient workﬂow. Zaxcom designs and manufactures professional audio equipment such as Deva hard disk recorders, for the television and ﬁlm industries. It claims the ﬁrst digital wireless microphone and the ﬁrst wireless microphone to feature integrated audio recording.
THE INTERNATIONAL RECORDERS BUYER’S GUIDE
16ch mULTITRACK recorder + USB / FireWire interface
Record direct to USB drive
16 analogue inputs (1/4” TRS jacks) 16 analogue outputs (RCA connectors) Front USB socket for quick capturing to USB mass storage devices Hybrid FireWire (IEEE1394) / USB2.0 16x16 audio interface Industry standard, broadcast WAV file format Up to 6 hours of 16 channel audio on a 32GB USB stick Signal present and peak LED metering on each channel
digital multitrack from AN analogue desk
16 x16 interface
ICE-16 makes multitrack recording easy. Forget all that fiddling around at the back of clunky HD recorders or messing about with soundcard drivers. ICE-16 lets you capture a high quality 16 track digital recording straight to a USB drive. ICE-16 is also a powerful 16x16 audio interface capable of studio quality recording over high-speed USB or FireWire, so you can record and play back multichannel audio with or without your computer. Whether it’s a live band, a studio session, a conference or a rehearsal, ICE-16 captures the performance.