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RECORDERS
2013
THE INTERNATIONAL
BUYERS GUIDEA S P E C I A L P R O M O T I O N A L P U B L I C A T I O N
F R O M T H E N E W B A Y M E D I A G R O U P
INTERNATIONAL ED IT ION
AUDIOMEDIA
PRODUCED BY
In association with:
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FouR good REAsoNs whY You'dNEvER wANT To usE A CoMPuTER
AT A LIvE show
Multi-track technology for the 21st century
tel: +44 (0) 1223 911 000
www.joeco.co.uk
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 drivein BWAV format
USB drive plugs straight into workstation forinstant 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 drivein BWAV format
USB drive plugs straight into workstation forinstant editing, mixing and post production
BLACKBOX BBR1 RECoRdER
Unique technology lets you capture live multi-channel audio without taking a computer or DAW to theperformance. 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 drivein BWAV format
USB drive plugs straight into workstation forinstant editing, mixing and post production
BLACKBOX PLAYER
Dedicated multi-channel playback option specifically designed to replay backing tracks and multiplesurround 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
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c on t en t sWelcome to Recorders 2013, an internationalBuyers Guide. Weve been busy rooting aroundthe professional recorder ranges to bring you ahealthy stack of options in the recorder genre.
This publication is a collection of promotional articles lookingat six of the worlds leading recorder manufacturers and theirproduct ranges. Inside youll find the stories behind the gear the ethos and design ethics that go into producing oneof the key components in professional audio and plenty
of info on the products themselves. In addition weve collateda directory of professional recorder manufacturers andcommissioned an article that takes a fresh look at the basicsof the audio recorder world.
Even through the rise of the DAW, the need for reliable,high quality, and feature-rich recording devices has nevergone 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 nowyou can choose CD, hard disk, DVD, and solid state types tosuit your needs and your budget. Theres also a vast array ofaudio file formats to handle, each one bringing the benefitof choice in data economy, audio quality, archive suitability,and more.
Even newspapers and other print-based media are findingthe need for suitable recording devices now that podcastand multimedia channels are becoming a necessary part ofeveryday content provision.
Are you a Foley editor? Are you a production recordist?Are you a new media journalist? Are you a broadcastprofessional? Are you a sound designer? All of these rolesand more require the best in recorder technology to makeyour job easier and your results better. Do you know whatfunctions, facilities, and frills are available nowadays?Wouldnt you like a large choice put right in front of you,rather than starting your hunt through the normal myriad ofsales and dealer channels?
This guide is the place to star t your recorder shopping
spree. This, and the other Buyers Guides in the series (Monitors,Microphones , Consoles, Live Sound Technology, Live Sound
Applicat ions , and DAWs) are Audi o 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.
Its available in both print and digital editions . For more details,
go to www.audiomedia.com.
The NewBay Team
Sales Manager
Graham Kirk
Editor In Chief
Paul Mac
Editorial Manager (Europe)
Lanna Marshall
Design & Production Manager
John-Paul Shirreffs
AUDIO MEDIAwww.audiomedia.com(UK) Tel: +44 (0)1354 669960 - Fax: +44 (0)1354 669965
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.
www.nbmedia.com
4 Portable Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8 AETA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10 Mayah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14 Roland Systems Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16 Sound Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18 Yellowtec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20 Zaxcom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22 Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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In my day Ive recorded on location using
Nagra reel-to reel tape recorders, Walkman-
style 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 withthe longest performances.
Back To Basics
There are many portable/
location recording devices on the
market and the range runs from
extremely inexpensive dictaphone-
style stereo recorders to rugged multi-
channel 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 on-
board microphones and their pre-amplifiers,
high quality headphone amplifiers, and better
build quality which is extremely important
if youre 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 multi-
microphone 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 withbuilt-in rechargeable cells
that can provide hours of
recording time. Audio is
relatively meagre in
its demand of drive
space, so multi-
gigabyte 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 in-
built 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 externalmicrophones many of
which provide power for
condenser and back-electret
devices. Characterised by their
extreme
portability,
these devices are
useful for interviews and in discrete
location recording. Ive 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, its 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 myold Phillips cassette recorder there!), which can
be extremely useful when youre capturing
unknown sources.
Some of these devices dont 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 Im
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, two-
and 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.
4 PORTABLE RECORDERS
Portable Recorders
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2012 TEAC Corporation. All rights reserved.
All specications are subject to change without notice.
TEAC UK Limited
Suites 19 & 20, Building 6 | Croxley Green Business Park | Hatters Lane | Watford | Hertfordshire WD18 8TE | UKSouthern Area Sales Manager: Alex Farrell | Mobile: 07779-795656 | Mail: [email protected]
Northern Area Sales Manager: Russ Fitton | Mobile: 07836-329281 | Mail: [email protected] | www.tascam.co.uk
Even more Portastudio than ever beforeDP-32: The 32-track luxury class among Portastudios
DP-03
8 tracks + stereo master track on SD/SDHC card, built-in stereocondenser microphone, 2 XLR inpu ts with phantom power, reverbprocessor plus mastering effects, CD burner for mastering andbackup
DP-24
24 tracks on SD/SDHC card, high-co ntrast LC colour display, dynamicand send effects, dedicated controls for direct access to EQ, panoramaand effect send channel, CD burner for mastering and backup
32 audio tracks (8 mono, 12 stereo), best-take functionwith additional virtual tracks, 40 channels during mix-down (32 playback channels + 8 input c hannels), dynamicand send effects, mastering effects including EQ, compres-sion and normalisation, CD burner for mastering andbackup, intuitive ease of operation
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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 Zooms
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 weve come
to expect from these devices,
but in an extremely compact
package and it also comes
in red!
On Set
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, theres
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 Zooms 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 omnidirectionalin the Tascams 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
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 havingthe 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
youll 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, its 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, its 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 youre 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 microphonepre-amplifiers are amongst the
best in the business, and what
youre effectively getting here
is a set of boutique-grade pre-
amplifiers 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 SS-
R200 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, theSS-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
6 PORTABLE RECORDERS
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that had accompanied me throughout my
fledgling recording career. The PMD 671 records
to Compact Flash cards of course, but in other
ways its 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, Zaxcoms 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,
youre going to need more recording channels.
If youre 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 youd 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. Tascams 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 its in use.) The DR-680 recordsto 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.
Nagras VI is an eight-channel (four
mic, two line, two mix) unit that
brings the companys 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 recorders ability to chase
timecode enables it to slip in nicely in any filmor TV production facility. Sound Devices 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 siblings 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.
Zaxcoms 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 mixingdesk. 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
Zaxcoms 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 four-
channel audio mixer,
RF transmitter, recorder,
timecode reader/generator,
and visual timecode slate all
in one small package.
Conclusion
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.
Weve 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 dont look like theyll be
running out of ideas any time soon.
THE INTERNATIONAL RECORDERS BUYERS GUIDE 7
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Born out of the desire to meet new workflows for
engineers, this compact and lightweight mixer-
recorder 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 multi-
track recorder (two to eight tracks) and portable
digital mixer, the 4MinX is ideal for stereo as well
as multi-channel productions.
Audio
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 audiospecification:
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 safelyin 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.
With its scalable and up-gradable
design, its flexible monitoring and
routing capabilities, the 4MinX is ideal
for almost any situation from TV/filmlocation 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.
4MinX: Mixer/Recorder DesignedFor The Most Demanding
8 PROMOTIONAL FEATURE
+ A E TA + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + +
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9/24 THE INTERNATIONAL RECORDERS BUYERS GUIDE 9
Power Management
The new lightweight 4MinX allows you to work
on location for more than six hours with its
rechargeable standard DV Li-Ion battery (NP-F).
This type is commonly used with Sony cameras.
A spare battery will double this time.
The DC input allows the 4MinX to be
powered from an external battery (NP1 or
alternative): it is also possible to recharge the
internal 4MinX NP-F battery at the same time.
The 4MinX can switch automatically between
power sources without interrupting recording.A robust and optimised power supply has
been designed for the 4MinX, to provide up to
15 Watts for your peripherals.
A Neutrik MiniCON 12-pin
connector (located on the left
side) offers two additional
line outputs for wireless TX
to camera, to the presenters
earpiece, etc. Receivers and
transmitters can be powered
from the 4MinX through this
connector; up to 6 Watts of
consumption.
Recording
The 4MinX uses an Ambient
Recording Time Code module
highly regarded within the
industry and used in ARRI
cameras to provide high-
accuracy LOCKIT TC.
The time code module can
be used as a TC generator (all
video formats supported) or
as a receiver to synchronise
the 4MinX to any TC source.
Sophisticated projectmanagement makes it simple
to handle multiple recordings.
The multi-track recorder on
SD/SDHC card can extend to
eight tracks, with background back-up on
external USB disk. More than 15 hours of
eight-track/96kHz/24-bit recording can be
held on a 128GB SDHC card.
When you record with the 4MinX,
you dont record directly to tracks but
create self-contained files that hold one,
two, or more tracks depending on the
selected configuration. With the 4MinX
it is possible to simultaneously record
two stereo microphones on two different
stereo files, for example.All recordings are done in
BWF (Broadcast Wave File) format.
BWF metadata in
iXML format can be
managed directly
on the 4MinX and is
compatible with most
post-production software.
The availability of an
optional USB keyboard
simplifies metadata
management.
A complete project
management system
satisfies the needs of the
most demanding users
and generates sound
report files automatically.
Flexible and Powerful
To design the 4MinX,
we were not afraid to
re-write the rulebook in
order to offer you more
power and flexibility.
The routing capability
for each input andeach output gives the
user a completely free
hand. A 4MinX user can
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
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.
Pricing
The 4MinX price is very competitive.
With 4MinX you pay only for what youneed, 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.
AETAs 4MinX was given an award for
technological innovation by SATIS Trophies
2011 in France for its compactness and future-
proof technology.
About AETA
AETA Audio Systems is French, and
a leading international developer
of portable sound recording units,
mixers, and advanced audio codecs,
optimised for any kind of media and
transmission infrastructure. Made by
AETA is a synonym for high quality
and investment protection.
From its very beginning in 1978,
the company focused not only on
developing innovative products, but
also on making them as small as
possible allowing for mobile use and
easy handling. They have acquired
a considerable reputation in the
audio field.
Some references:
1999: PSP3 Stereo Pre-amp
2000: MIX2000 four channel
portable mixer2007: MIXY three mic/line stereo
mixer
AETA Audio Systems
18-22 Avenue Edouard Herriot
Parc technologique Kepler 492350 Le Plessis-Robinson FRANCE
www.aeta-audio.com
t +33 1 41 36 12 00
F + 33 1 46 36 12 69
ecorders 2013
A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + +
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+ M A YA H C O M M U N I C A T I O N S + + + + M A YA H C O M M U N I C A T I O N S + + + + M AY A H C O M M U N I C A T I O N S + + +
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 MAYAHs 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 browserbut 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/Os: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
MAYAH is a world leading designer
and distributor of high-end
equipment for broadcast and
audio/video production.
MAYAH Communications GmbH World Leading Audio Technology
10 PROMOTIONAL FEATUREPhoto: Cameron Whitman, 2010.
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corders 2013
THE INTERNATIONAL RECORDERS BUYERS GUIDE 11
A YA H C O M M U N I C A T I O N S + + + + M A YA H C O M M U N I C A T I O N S + + + + M A Y A H C O M M U N I C A T I O N S + + + + M
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 themusician 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.
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 worlds 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 todays broadcast industry. C10 is also equipped with the newest codec algorithm Opus, featuring the same high qualityproperties 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.
MAYAH Communications GmbH
Am Sldnermoos 17
D-85399 Hallbergmoos, Germany
t +49 811 5517 0
f49 811 5517 55
MAYAH Communications U.S. Office
North American Business Development
Bellingham, WA
United States
t +1 360 618 1474
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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 furtherto 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 completecompositions - 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 multi-
track sequencer
L/R independent recording
Recording Studios
that fit in your pocket
OLYMPUSLS-100MULTI-TRACK LINEAR
PCM RECORDER: HIGH PERFORMANCE,
MOBILE MULTI-TRACK RECORDING
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To see the complete LS range and full features,please visit www.olympus.co.uk/consumer/ls-seriesor email [email protected] for details
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.
Capture your demos, interviewsand gigs in high-quality audio
LS-20MHD SOUND AND HD MOVIE
LS-11AUDIO
RECORDER
LS-3SMALLEST
& SLIMMEST LS
RECORDER
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.
The LS-11
can record
.wav filesas 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.
LSIS MoreWhatMusicians,journalistsand
podcastershave been waiting for
LS-20
MAIN FEATURES:
Record superior to
CD quality sound
Shoot incredible full HD
movies with magic movie effects
Movie image stabilisation
reduces camera shake
PCM (WAV) and MP3
recording/playback format
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14 PROMOTIONAL FEATURE
R-88 Portable Recorder and Mixer:
Eight Tracks and Two Channel Recording
Capability
This new multi-track SDHC/SD card recorder with
eight-ch XLR inputs/outputs has the recording
capability of eight tracks + two channel
stereo mix at 24-bit/96kHz, or four tracks at
24-bit/192kHz totally uncompressed recording
of broadcast wave files assuring outstanding
sound quality with
selectable bit depths
(16-bit or 24-bit), and
sampling frequencies
(44.1kHz/48kHz/88.2kH
z/96kHz/192kHz).
The R-88 has eight
XLR inputs, each with
phantom (+48V)
and onboard effects
including limiter
and low cut on each
channel. The built-in
limiter helps deliver
a stable and reliable
recording free of
clipping noise from
sudden input surges,whilst the low-cut filter
is included to help
prevent things like wind
noise or mic handling
noise, both greatly
improving the audio quality.
SDHC/SD Card Recorder
The R-88 uses SD cards or large capacity
SDHC cards as the recording media, enabling
easy transfer of data to PC or post-production
hardware. Connecting the R-88 to a PC/Mac is
easy, either using the R-88 as a removable drive
to transfer audio files, or using the dedicateddriver as an audio interface. The USB AUDIO I/F
feature means that the R-88 can also act as an
audio interface to a computer (PC or Mac) when
connected by USB, appearing to audio software
on the computer as 10 individual inputs and
eight individual outputs.
On Board Mixing Capability
The on board mixing capability with fader, pan,
EQ, and two channel mixing allows the user to
mix as well as record. Studio class effects such as
three-band EQ, six-band GEQ, enhancer or de-
esser can be used as tools to perfect the audio
quality of the recordings.
Effects can be applied while
recording or simply for
monitoring/playback.
Fully Compatible with SMPTE
Timecode
The R-88 is fully compatible
with SMPTE timecode, and can
act as slave (with timecode
regeneration on the timecode
out), or as master to enable
a fully synchronised video
workflow. Further workflow
aids are included such as Slate
facility from onboard mic for
memo recording or Slate tone
(1kHz/-20dBFS), and a jackinput, which allows control
of play, record, rewind, and
more via optional or dual
footswitches.
The USB host terminal of the R-88 enables
high speed and instant back-up of recorded data
to affordable and easy obtainable media like
Flash memory, memory cards via card reader, or
HDD storage. Easy and high-speed duplication of
recorded data improves production workflow
across multiple locations.
For Film, Surround,
and Concert Recording Applications
For film recording on location, multiple
wireless and boom microphones can be
connected to the R-88. The R-88 mixes
the audio signals and outputs a stereo mix
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.
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.
Professional Recording SolutionsFrom Roland Systems Group
About Roland
Roland Systems Group is dedicated
to supporting audio and video
professionals who demand excellence
in terms of performance and system
design by consistently providing the
entertainment industry with the most
creative and technically advanced
products. Offering solutions to
many markets including broadcast,
education, live production, theatre,
visual performance and worship,
Roland System Group provides
intuitive, flexible products that can
be used in standalone or system
configurations using the V-Mixing
System, Digital Snakes, or S-MADI
connectivity.
The R-88
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 two-
mix 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 O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L
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THE INTERNATIONAL RECORDERS BUYERS GUIDE 15
R-1000 48-Track Recorder/Player
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.
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 Rolands 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 capturingenvironmental 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
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
US:
Roland Systems Group801 West Orchard Drive,
Suite 3 Bellingham, WA98225
t +1 (360) 5944282
w www.rolandsystemsgroup.com
corders 2013
D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S
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16 PROMOTIONAL FEATURE
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, high-
resolution analogue microphone preamplifiers.
Developed for high-bandwidth, high bit-rate
digital recording, these preamps set the standard
for linearity, distortion performance, and low-
noise 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
Sound Devices two-track recorders
are powerful file-based digital audio
recorders. Sound Devices 702 is a two-
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 FireWireport to Windows or Mac OS computers.
Four-Track Recorder 744T
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.
Sound Devices 7-SeriesDigital 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 thesize, performance, and feature-
set paradigms of all previous
generations of audio recorders.
CL-8 Controller with Sound Devices 788T Digital Recorder.
+ S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D
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THE INTERNATIONAL RECORDERS BUYERS GUIDE 17
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 eight-
track, 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
playback. All three storage mediums can be
selected for simultaneous, redundant recording.
As with the 702T and 744Ts 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-8s 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.
664 Field Mixer with Integrated Multi-Track Recorder
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.
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 788T is a powerful eight input, twelve-track digital audio recorder designed for production sound.
Compact, linear
fader controller
with enhanced
monitoring.
rders 2013
C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O
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18 PROMOTIONAL FEATURE
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 youll notice about the iXm
is that weve made it extremely easy to use.
Since a major part of our design goal wasaccomplished with LEA, we could eliminate the
display and design a dashboard of three light-
up icons. Because you dont 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
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 i t: 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 TimeWith an adjustable
pre-roll recording
buffer, youll never
miss a conversation.
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 triggeredyour recording after the interview started!
Unbeatable Stamina With Options
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.
Designed and engineered to create perfect location
recordings, the iXm is a revolutionary product developedinside 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. Its never been easier
to record pristine, broadcast-ready audio on location.
iXm:Capture PristineAudio in any Location.
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THE INTERNATIONAL RECORDERS BUYERS GUIDE 19
Our Cooler Heads Prevail
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 youre using and
automatically adapts the DSP to the
right parameters. No need for anymanual 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:
Youre Free to Go
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. Weve 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.
Weve even included a
connector for use with an
optional speed charger.
Storage and Memory:
SD or SDHC
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
The iXms body is constructedof 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.
CONTACT DETAILS
Yellowtec
Heinrich-Hertz-Str. 1-3
D-40789 Monheim am Rhein
Germany
t +49 2173 9673 0
UK Distributor:
HHB Communications Ltd.
t +44 (0) 208 962 5000
US Distributors:
Broadcasters General Store
t +1 352 622 7700w www.bgs.cc
SCMS Inc.
t +1 800 438 6040
w www.scmsinc.com
orders 2013
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20 PROMOTIONAL FEATURE
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 microphoneto 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 introducedits 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.
Zaxcom Audio Innovators for Film
and Broadcast Production
+ Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A
The Nomad Range
Zaxcoms 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 integratedfeatures 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 12s twelve and eighteen respectively).
And the entry-level machine, the Nomad
Lite, still packs an impressive punch, offering
recording at 96kHz, six hardware faders, anddigital mixing.
Zaxcom Inc. is a
ground breaking
creator of professional
audio equipment forfilm and television
production.
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THE INTERNATIONAL RECORDERS BUYERS GUIDE 21
2001 brought the Zaxcom Digital Wireless
to the market. It was the first time digital
modulation was used on a professional
bodypack wireless system.At the 75th Annual Academy Awards in
March 2003, The Academy of Motion Picture
Arts and Sciences presented a Scientific and
Engineering Award Academy Plaque to Glenn
Sanders and Howard Stark of Zaxcom for
the concept, design, and engineering of the
portable Deva Digital Audio Disk Recorder.
The plaque reads: This innovative design
employs advanced hard disk recording
technology and digital audio techniques for
use in both production and post-production
recording applications.
That summer Zaxcom moved from
Midland Park, New Jersey, to its current
facility in Pompton Plains. The space grew to
accommodate the companys growing staff
and production line, which was expanding to
meet demand for Zaxcoms products.
In 2004, the next generation of Deva was
released the Deva IV and Deva V. They boast
an intuitive colour touch screen, an optionalinternal DVD-RAM drive, and can record up
to 10 tracks of audio. Stereo ENG wireless
was also released. For the first time you could
transmit two channels of audio using one
transmitter and one receiver, making the perfect
bag to camera link.
In 2006, Zaxcom released the Deva Mix-
12, a mixing panel for the Deva IV or V and its
second generation of wireless, the TRX series,
featuring recording wireless microphones.
The companys current product range spans
wireless transmitters receivers, recorder/mixers,
miniature recorders, and control surfaces that
integrate with other Zaxcom machiners.
Zaxcom has grown from one mans desire
to do things better in video editing to become
a respected and admired staple of the film and
broadcast sound industry.
Zaxcom, Inc.
230 West Parkway, Unit 9Pompton Plains, NJ 07444
USA
t +1 973 835 5000
f +1 973 835 6633
w www.zaxcom.com
ers 2013
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The Zaxcom Maxx is a powerful
new tool for film sound
recordists: its an audio mixer,
RF transmitter, recorder,
timecode reader/generator, and
visual timecode slate all in one
small package.
The Maxx has four full size
XLR analogue mic/line level
inputs with 48 V Phantom power
that incorporate the Nomads
microphone pre-amps with
NeverClip clip-protection.
The four input channels can
be mixed to a range of outputs,
running at all broadcast sample
rates up to 192kHz.
Each input channel has a high
pass filter, two variable notch
filters, variable delay, and a soft
knee compressor.
The Maxxs built-in RF
transmitter is designed to be
used as a wireless camera
link. This eliminates the
possibility of level mismatch
and audio distortion
common to unbalanced
connections between
separate mixer and RF
transmitter combinations.
Maxx comes standard
with the ability to record the
two-channel mix output on
a CompactFlash or SD card).
Files can be recorded at up to
24-bit/192kHz with a dynamic
range of 137dB.
There is also a six-channel
recording option giving you the
ability to record four pre-fader
tracks along with the two-
channel mix.
Maxx can also record MP3
transcription files with a linear
timecode track.
Zaxcom Maxx
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22 RECORDER MANUFACTURERS DIRECTORY
AATON
Based in Grenoble, France,
Aaton is the manufacturer
of a range of audio-visual
equipment. Founded by Jean-
Pierre Beauviala, the company
has produced a range of quiet,
portable hardware for location
recording.
Aatons first product
targeted at sound engineers
was the OriginC+, a time-
marking system for location
recorders. More recently,
the company has produced
Cantar, an over-the-shoulder
8-track mixer and recorder.
www.aaton.com
AETA
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+.
www.aeta-audio.com
AEQ
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.
www.aeqbroadcast.com
ALLEN & HEATH
The ICE-16 is the new multi-
track 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.
www.allen-heath.com
FOSTEX
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.
www.fostex.com
IZ TECHNOLOGY CORP.
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 Plus-
driven RADAR V line. There are
now 2500+ RADAR units being
operated in recording studios
around the world.
www.izcorp.com
JOECO LTD.
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.
www.joeco.co.uk
KLARK TEKNIK
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 companys
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
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
worlds premier manufacturers
in synth, sampling, and
electronic music products.
www.korg.com
MARANTZ PROFESSIONAL
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.
www.marantz.com
M-AUDIO
M-Audio is a provider
of creative tools for computer-
centric 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.
www.m-audio.com
MAYAH
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
www.mayah.com
MAYCOM AUDIO SYSTEMS
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.
www.maycom.nl
NAGRA
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.
www.nagraaudio.com
OLYMPUS
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.
www.olympus.com
Recorder Manufacturers Directory
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THE INTERNATIONAL RECORDERS BUYERS GUIDE 23
ROLAND SYSTEMS GROUP
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.
www.rolandsg.co.uk
ROSENDAHL
STUDIOTECHNIK
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.www.rosendahl-studiotechnik.de
SADIE
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 workstationfor the production of location
multi-track audio recordings
to be released on distributed
media.
www.sadie.com
SONY PROFESSIONAL
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.
www.sonybiz.net
SOUND DEVICES
Sound Devices, LLC, was
founded in 1998 as a
manufacturer of field-
production audio products.
Sound Devices growing
family of audio