Audio Recorders for Filmmaking 2019: Choosing a Sound Recorder for Your Video Projects

[@pascaldeshayes5459]

If I can add my 2 cents (as an audio engineer): the quality of preamps and converters is the priority over sampling rates and even bit depth. That seems to be something the average video maker is a bit confused about, mainly due to marketing talk. If a recorder can go up to 192kHz doesn't mean the audio quality will be good. It means that the frequency range will be large (and so will the files!), this should result in crystal clear upper frequencies IF the preamps and converters (and of course microphones) are up to that task, which is probably not the case with most pro-sumer products. Encoding bad quality audio in 192kHz is a waste of disk space. It's like recording a poor camera sensor output in 8k. The reality is that good analog preamps (and limiters) and good converters cost money. In a studio situation, one single high quality preamp can cost more than $1k per channel just to give you a frame of reference. I remember recording a choir with a Zoom H6n, there was so much harmonic distortion (even without clipping anything) that it sounded as if I was running the whole file in a fuzz pedal in parallel. This is because they give you a few dBs of true analog gain (like 20) and then it's just digital "gain" which is the same as zooming on a 720p image to get 4k. It just digitally expands your weak audio signal, including the noise. And we don't want to sound like the Niagara falls, right? So, the more sensitive your microphone, the less gain you'll need and the cleaner your audio should be. But the risk to saturate the microphone will also be higher. Microphones have "self noise" too, which should be considered as this noise will be amplified by your preamp. Some manufacturers give you these numbers. Bit depth (16, 24, 32 bit) is your dynamic range, think of it as the height of a ceiling you never want to hit while jumping on a trampoline. In theory, working in 32bit should give you enough dynamic range to never saturate your file, which is what we all want, right? Now, this is if your preamp/limiter/converter haven't clipped already. So, again, the analog side is probably going to be the limiting factor here. Most recording studios work in 24bit these days, either in 44.1kHz, 48kHz or double that (88.1/96) and this is with drums, horns and loud rock singers. So, 24bit/48kHz should be plenty enough to record normal dialogue. I'd go for 32bit for security if possible and I'd make tests in 96kHz to see if my mic/preamp/conversion chain let the sparkle through or not (I doubt it will). Let's remember that human voice is all about the mids and that you'll probably find some "sss" in the upper frequencies that you'll want to get rid of anyway, so I don't think going for high sampling rates makes that much sense. If you're recording cymbals or acoustic guitar, that's another story. But chances are your final project will be down-sampled to 48kHz anyway, so think twice before going for monster audio files. Converters are not just a matter of conversion chips. There's always an analog stage in conversion and clocking is key. A bad clock results in jittering, which translates in blurry audio. This is something manufacturers don't communicate a lot about, unfortunately. So, all in all, I'd take a MixPre3 with quality components over any 97-channel recorder any day, should I be given the choice. I must say that I once ran into noise problems with a Neumann MS pair into a SoundDevices recorder, so it seems that nothing is perfect anyway. Enough rambling - back to editing ;-)

[@curtisjudd]

Thanks for the insights, Pascal - gold!

[@TheVictoriousSecrets]

As a fellow pro audio engineer...I approve this message...:)

[@curtisjudd]

@@TheVictoriousSecrets 👍

[@drill2.087]

Pascal Deshayes fellow audio engineer here and spot on, what never ceases to amaze me though is when people spend money on great gear, great mics etc and then buy the cheapest cable lol

[@dr85335]

DRILL 2.0 recommend a certain cable?

[@johnnysaylor7178]

This is one of the best tutorial reviews I have ever viewed on any subject. I really appreciate the time, effort and knowledge from first-hand experience. I get cramps in my finger from clicking out of the never-ending list of "training" and "reviews" that start well and quickly become teasers or run-ups to another course, ebook and pay-to-play webinar or video series. I will be subscribing and watching your other content. I really enjoy that you are sharing facts and opinions but clearly note each. Thank you again!

[@curtisjudd]

Thanks Johnny.

[@kyleolson8977]

Wow, this one is epic. I don't know I need to go through all this, but it's a great place to send anyone to find the answers.

[@curtisjudd]

Thanks Kyle.

[@DG-lj6fq]

Kyle Olson mine records for 7 secs then stops Plenty sound on levels going in from rode phantom power in 4

[@bruhdabones]

DASS GREEN what

[@HoltAlex]

Same thoughts here. Love this video, thanks for putting it together.

[@Burritosarebetterthantacos]

The fact that this gentleman answers every question says alot.

[@curtisjudd]

Thanks Skip.

[@curtisjudd]

We've updated this video for 2022: kzbin.info/www/bejne/oHfKe5aoiMR0hs0 00:36 Zoom H1, H1n, and Tascam DR-05 Handheld recorders 03:00 Zoom F1 lavalier and on-camera recorder 05:17 Tascam DR-10L and Lectrosonics PDR mini body pack lavalier recorders 06:43 Tascam DR-60DmkII, Zoom H4n Pro, Zoom H5, Zoom H6 11:53 Centrance Mixerface R4R 12:50 Roland R-88 (Discontinued but can find used) 13:48 Zoom F4/F8/F8n, Sound Devices MixPre, Tascam DR-701D 32:21 Sound Devices 600 Series and Zaxcom Maxx, Nomad, & Deva

[@williamcooper5793]

Curtis Judd i’m thinking about careers, and i was wondering what college you went to because i really have a passion for cinematography. Any wisdom would be great👌

[@curtisjudd]

@@williamcooper5793 Hi William, I didn't go to film school, I'm a product manager and videographer at a software company for my day job. Everything I know about audio and film production and post was learned in my spare time - online, books, talking with pros, etc. In fact, I learned a lot about photography in the university library when I should have been studying for my Information Systems classes. :)

[@williamcooper5793]

@Curtis Judd thanks!

[@dot4636]

What do you think about the Tascam DR-70D?

[@curtisjudd]

@@dot4636 I have only used it once but it seems decent like the DR060DmkII but with fewer buttons and 4 XLR inputs.

[@BasicFilmmaker]

Wa-wa-Wow! That was GREAT! Answered my Mix Pre questions too. I plan on visiting all these folks at NAB this year and digging into this myself. Thank you!

[@curtisjudd]

We'll see you there at the SD booth. :)

[@FumblingArborist]

Curtis, your kind contributions to help educate others, and help them make the right decisions are immense. These videos are literally the global reference guide for audio engineering. I really appreciate all the hard work and hours that you put into making these. Wish there was a better way to say thank you for these - but - thank you again! All the best and greetings from Tokyo

[@curtisjudd]

Thanks so much Markku!

[@WarpedYT]

This was a great Video on Sound...man I just Love my Sound Devices Gear! its amazing they are so on top of their game

[@curtisjudd]

Couldn't agree more!

[@Capnmax]

I used to lust after their pro level 4 channel which was like, $2500. So stoked to see they now have a

[@curtisjudd]

@@Capnmax 👍

[@frankfarago2825]

The certainly are doing fine. Less so with their video division, which used to be called "Video Devices." That company died a rather quick death a few years ago.

[@jas_bataille]

Sound Devices and Lectrosonic for wireless, nothing else you gonna see on Hollywood film sets those days, except in the racks of course.

[@Jae30001]

Great video man, nailed this video to the T. There is not one video out there that can compete with the quality of this video, again, great job. You've got my support.

[@curtisjudd]

Thanks ZeroByte!

[@WarrenPostma]

This is packed chock full of good info. My 22 year old son is doing a Filmmaking and audio/visual program at a local college, and I've pointed him at your channel. SO much great valuable content here. My interest was because I'm looking at field recording audio gear options and was curious what the whole product ranges of these companies look like. I had never considered the difference between an A/V focused or film sound production focus and its effect on the design of a field recording device and this video showed lots about that. Thanks.

[@curtisjudd]

Thanks so much, Warren!

[@doriantaddei1130]

Great, brand coverage. Couldn't have asked for a better overview. Thank you!

[@curtisjudd]

Thanks Dorian!

[@danielroth4497]

People put way too much energy into fretting over ‘the best’ equipment and not nearly enough into creating and improving skills. Skills > equipment. Always. That said-you are one of the few KZbinrs I trust to try to give objective reviews. Lots of folks just hawking stuff and reviewing things they don’t fully understand, or the context in which they should be used.

[@curtisjudd]

Hi Daniel, I entirely agree! There are some bad products out there but once you get past those, you can make great recordings with many of these. It often comes down to which is a good fit for the particular job. My hope is mainly to educate people on that and how to operate these to get the best recordings possible. Cheers!

[@cameralabs]

Really enjoyed your presentation and style - good info, well-put!

[@curtisjudd]

Thanks so much Gordon. Means a lot coming from one of my go-to sources for camera reviews!

[@cameralabs]

@@curtisjudd cheers! Looking forward to watching your other videos - feel free to ask me about cameras or anything else I cover!

[@photony]

This is really extensive and well done, and appreciate the fact that it's obviously from an audio professional that understands his audience is a wide variety of experience in audio. Thank you, Curtis!

[@curtisjudd]

Thanks Tony!

[@huyked]

0:10 When you mentioned, _"This episode is LONG"_, you should have added, "Use popcorn" first. xD 4:28 I was absolutely horrifield while on set, on discovering that my cellphone that was sitting next to my DR-40 was cause static in the recording! Lesson learned! Mr. Judd, you are absolutely *_WONDERFUL_* for putting this together. Hearing from someone with firsthand knowledge is invaluable. And the way you present it is so balanced and fair. We have a great asset (you) on our side in this corner of KZbin! Three cheers for you/Mr. Judd!!! :D By the way, I didn't even need popcorn. Boy did that went by fast. I, personally, benefited from this video. I have been shopping around and researching (a la your videos throughout the months), and this comparison video is beautiful(ly done, too).

[@curtisjudd]

Haha! Great point! Popcorn would have been the most useful recommendation of all!

[@raksh9]

Whenever I mic the talent and put the recorder in their pocket, I make sure there is no cellphone in the same pocket.

[@curtisjudd]

@@raksh9 Good policy!

[@huyked]

@@raksh9 I would even say, not in the pocket next to the recorder.

[@raksh9]

@@huyked True, better safe than sorry. So far, I've been lucky if they switch the phone to the other side of their hips. Having said that, I once got massive interference when I put an Olympus recorder under a sound board to get ambiance of a live event.

[@MonitorSmith]

This is as relevant as when it was posted. From an old sound pro (I am not in the business anymore), this is very good advise - not least for the viewers who feel they are missing out on much better sound and lah-di-dah using a consumer device. There is a difference but often the difference does not make a difference when it comes to final use of the recorded material. Curtis says it like it is, the professional products are engineered with a systems mindset to perfom in a larger context and in a way more "abusive" way than any consumer or prosumer device ever needs to encounter. Materials, ergonomics, stability, serviceability, interfacing capabilities and so on drives the price up. When I started out, my first encounter with this type of unit was the Nagra IV, the film studio where I got my first job had a couple and I got to take them home and experiment and record stuff. Some viewing this channel will know them because they are still around - build-like-tanks over engineered Swiss masterpieces with tone pilot synchronisation to 16mm and 35mm cameras and weighing 10 tons. At least it felt so after a few hours carrying one on a slim shoulder strap with a boom in your hands. Enough of me, know your gear and how sound behaves, that will have a lot more impact on the quality of your material than anything else.

[@curtisjudd]

Thanks moponi.

[@skyhighproductions]

This is one of THE BEST videos I've seen on sound. THANK YOU!

[@curtisjudd]

Thanks!

[@shortsalbhelamiusicstudio5198]

Hello

[@nobrayn]

I can't tell you how helpful this was! I dabbled in location sound in the early 00's for a year before moving on to a ton of different things, but I'm getting back into it and my head almost exploded (and laptop almost melted) from all the tabs of information and gear I had open! Thanks for the concise breakdown of all this gear.

[@curtisjudd]

Thanks Chris! 👍

[@AkamatsuCreative]

What a thoroughly valuable and well-presented set of information. Really appreciate your approach to providing detailed, thoughtful and practical information for audio and video people. Thumbs well up. I've seen lots of your videos, but particularly wanted to comment on this one.

[@curtisjudd]

Thanks Akamatsu!

[@lawrencegress9831]

Your reviews are some of the best. Clear, honest, insightful to the point with no fluff. Excellent.

[@curtisjudd]

Thanks, Lawrence.

[@visualtrigger2469]

Literally, the best audio channel on youtube!

[@curtisjudd]

Thanks Visual Trigger!

[@giovannispinotti]

I do find these reviews extremely honest and outspoken and in depth about so many of those recorders. Well done.

[@curtisjudd]

Thanks Giovanni.

[@rockjano]

Amazing video, really great. I really admire how much work you put in these videos...

[@curtisjudd]

Thanks Bánáti!

[@GadgetAddict]

True. Good work

[@robertcarlson6549]

You are one of the best, if not the best, reviewer/provider of excellent information on the internet.You provide a great service for those of us who need to solve a problem, but don't have knowlege or resources to acquire the information we need. Thank you so much. You are a gem.

[@curtisjudd]

Thanks Robert, you made my day!

[@TheToneWork]

I got a MixPre-3 because of your previous videos on it. No regrets.

[@curtisjudd]

Glad it has worked out well!

[@TheRonseye]

@@curtisjudd I teach film students with these and also use for my own Sound Design etc....great units!

[@curtisjudd]

@@TheRonseye 👍🏻

Thank you very much for the video. The original Zoom H1 has served with honor for 6 years, finally the capsules of the microphones have been broken.

[@curtisjudd]

Good to hear. 6 Years is pretty good for a little plastic recorder!

[@jannisnewiadomsky]

Very important information/tipp for all Tascam dr-60d mkII user ! I had the problem with the XLR cable witch would never come out again but I solved it. It took me about 2 hours to figure out, but it worked ! I totally dismantled it and drilled savetly a hole into the XLR intup. So I could press on the machanic that it loose it. For more infos write me. I made also some pictures to remember myself. (I assume no liability for any problems)

[@curtisjudd]

Thanks.

[@keithbeck8252]

It is hard to be thorough and user friendly at the same time. You nailed it. Keep up the good work!

[@curtisjudd]

Thanks Keith.

[@gmichael5506]

Professional presentation of professional equipment. Thank you!

[@curtisjudd]

Thanks!

[@bobbyr]

Thanks Curtis! You are the most serious product reviewer on KZbin. Love that you tell the facts but also give your opinion on things.

[@curtisjudd]

Thanks Bobby.

[@Boneteacher]

Excellent as usual

[@curtisjudd]

Thanks Boneteacher!

[@rickymcc8624]

Thanks Curtis for another generally objective and comprehensive review vid. You are now one of my. 'go to' sources for gear review and insight into sound devices, so I subscribed some months ago. Talking of devices it's because of your perspectives that I first heard about "Sound Devices" and did a lot more research then bought a MixPre-6. I'm still learning and trying to get the best out of my MP6, but I feel it's a good example where I chose not to buy the 'reference' brand I knew (Tascam) but kept an open mind, waited, researched, paid more short term to hopefully pay less long term. Did the same with mikes, recently buying a Sennheiser MKH 416. Much more than I would have initially spent on a mike a year ago. Then in my ignorance. I would have attempted to buy cheap. But then again, having made and learnt from past mistakes, I really understand the saying 'buy cheap, buy twice'. Also, as a photographer I can understand why I will pay £2k+ for a great lens, so I understand that a really good mike logically will likely cost more than £300. Albeit diminishing returns is also a real world thing, so I don't over reach or ever 'splurge' beyond my financial means.

[@curtisjudd]

That combination should serve you very well for a very long time. Happy recording!

[@fernypad9306]

Do you have a video where you showcase the sound treatment in your studio space? Your voice comes is very clean with almost zero echo.

[@curtisjudd]

No, but that's a good idea. Thanks!

[@pcofranc]

One of the best and most fair teachers on youtube and beyond. I'm considering the Tascam DR-60DmkII but found the expose of the pro equipment fascinating due to you presentation style.

[@curtisjudd]

Thanks Paul and happy recording!

[@devtank]

Fill the bottom of your bag with styrofoam balls (or a mini beanbag), which is light, and will stabilize irregular surfaces like the messy end of a recorder setup -especially in confined spaces like bags.

[@curtisjudd]

Great idea, thanks for that!

[@StevesStrayStuff]

Curtis, your video is fantastic! I make KZbin videos and my audio is very lacking. For months I have been looking to purchase a recorder but didn't know what to buy, I was confused as hell. After watching your video, I learned a lot and many of my questions were answered, you even address things I never took into consideration, therefore I would have been disappointed with what I had planned on purchasing. I purchased the Zoom F1 with the shotgun mic and lavalier mic/belt clip combo. Now I will have great audio using my Canon G7X MkII, I can use the F1 with my computer for voice-overs during editing and it will allow me to upgrade and interface with a DSLR in the future. You gave me the most bang for my buck! Thank you very much!

[@curtisjudd]

Thanks Steve, and happy recording!

[@john-marcedwards9221]

Such in-depth reviews!! New sub here!

[@curtisjudd]

Thanks John-Marc!

[@jeremyryannoel]

So what you’ve helped me understand, is if I can get my hands on either the Zoom F series or Mixpre within the next couple of months, I won’t be stifled by any stretch. I have a gig coming up, and I found out my H6’s preamps are noisier than realized, so it will be a backup and for one of the cameras. Second, I’ll likely have both in the future regardless, so a 2 week shoot will be successful with either the two I previously mentioned. The next question will be providing a couple of lavs which I’m torn between the Zoom mini field recorders, or the Rode Wireless Go 2 which I’m using for redundancy/backup/preventative maintenance. Your videos have helped clear up a lot of things for me, especially for a systems installer and studio engineer! Thank you.

[@curtisjudd]

Thanks Jeremy. Happy recording!

[@xakhuh5104]

Wow, thank you again for another stellar video. Your work is thoughtful and meticulous. Question regarding the warmth that the mixpre gives over the zoom f series (which is obvious and preferable to my ears): Can this be achieved easily in post or does some quality get compromised with it not being a native characteristic of the recording?

[@xakhuh5104]

Also I appreciate your clarification on limiters and their importance in the grand scheme of things, but would you say that the new zoom look-ahead limiters are a vast improvement over the previous normal f8 limiters? I noticed they’ve kept the setting for the normal limiters which seems strange. Why would one prefer the normal limiter system over the new one unless there are situations where the look-ahead limiters may be too aggressive or may compromise something. Thanks again!

[@curtisjudd]

Hi xak huh, the difference is so small, I would think that an EQ in post could achieve the same result.

[@curtisjudd]

The only difference I've noticed is that the look-ahead limiters also catch the initial transient whereas the original limiters did not. I cannot think of a reason to use the older version of the limiter. That's really the only difference. You still end up with a noise floor that is 10dB louder so it isn't really a vast improvement. Honestly, in most cases when I'm recording with the F4/F8/F8n, I don't use the limiters. But I mainly shoot interviews where the biggest modulation is when somebody laughs. If I leave 18dB of headroom, that usually will not clip/distort.

[@xakhuh5104]

Thanks @@curtisjudd so the F series can essentially produce a quality of sound that is equal to the mix-pre and perhaps a 633, if EQ'd properly. I do feel the sound devices flavor is more full-sounding and cinematic (Hollywood), so glad to hear that if I get better at this, I can get truly pro quality sound out of this f8.

[@curtisjudd]

@@xakhuh5104 Clarification: You can make it sound like a MixPre, but not sure you can make it sound like a 633.

[@drewc9947]

I’ll be getting audio gear over the next year, and your videos help keep me sane. With no experience to pursue passion projects, it’s easy to get overwhelmed by the minutiae of options and marketing. So, I got a pair of open back studio monitors and sit down and listen to your comparison videos and reviews, among other producers’. It’s exceptionally helpful.

[@curtisjudd]

Thanks Fancy Drew for the feedback. Best wishes and happy recording!

[@fmh357]

Thank you for a very professional presentation.

[@curtisjudd]

You’re most welcome!

[@chriscampo9171]

Hey Curtis, I just wanted to say thanks for all your videos. I am only just starting to purchase equipment for upcoming project and you explanations + your price point categorizations help SO MUCH! It's making me feel more comfortable with my purchases and I can honestly and accurately categorize myself as a prosumer (for now). Thanks again.

[@curtisjudd]

Thanks Chris, really appreciate the feedback. Best wishes on your project!

[@OfficialNerdSingh]

Excellent video - appreciate your efforts

[@curtisjudd]

Thanks!

[@redjbari]

A great explanation of various sound recorders. Especially for those who are not professional audio mixer to learn what suits them best.

[@curtisjudd]

Thanks Roozbeth!

[@BratWurstHack]

As always a really good review. A friend of mine also has a stuck XLR cable in his Tascam recorder. I also almost got one stuck once but I figured that it's more of an issue withe the cable than with the recorder. We both own RODE Microphones which had a cable included. The RODE Cable is the one which got stuck in the recorder of my friend and also almost got stuck in mine. Never had issues with my self built cables for which I used Neutrik Plugs. Maybe there is someone who can confirm this theory ?!

[@curtisjudd]

I suspect you're right.

[@RitchieCaron]

I experienced the same with an X-32 digital mixer that had the release tab missing on the XLR input channel. Since these devices get tossed around in bags it's no surprise if the release tabs have broken off before locking in the connector. I had to take the mixer apart to pry and break the lock from inside the barrel to release the cable.

[@cjay2]

If you build your cables yourself, then go with Switchcraft connectors. Don't settle for Neutrik.

[@mikegorsky3127]

I had an issue with Tascam DR-60DmkII as well at the first use. The only solution is to use the Neutrik cables. So I replaced all my XLR cables with Neutrik plugs and it works fine.

[@dedicatedcommunist6544]

Curtis, can i just say that your channel is one of the best and most professional filmmaker channels on youtube.

[@curtisjudd]

Thanks Anton.

[@JamesMatthewGallagher]

One of the XLR/TRS inputs on my Zoom H5 completely failed.

[@curtisjudd]

:-( Sounds like it is more common than I realized.

[@JamesMatthewGallagher]

@@curtisjudd Zoom's support was responsive, but not sure I want to pay the cost of an off warranty replacement, which is $155 plus shipping.

[@curtisjudd]

@@JamesMatthewGallagher Steep for a $269 recorder.

[@rizzo-films]

Amazing lighting for a video about sound. So glad you made this (though I'm here 4 years later) as there aren't too many videos about these types of products anymore. And I don't know why because any of us who need to record from more than one audio source NEED devices like these.

[@curtisjudd]

👍

[@jeremytravis360]

Well out of the range of my pocket but fascinating to watch. I'm happy with my Olympus recorder. I use it asa supper walkman with the option to record as well.

[@curtisjudd]

👍

[@scotia807]

I've used the Olympus WS-822 at weddings on the groom. Audio was so much better than a wireless and no dropouts.

[@jeffcrowe5518]

Fantastic info with no "fluff" injections. On the Tascam DR-10L, the European version is the DR-10C. I picked up one of these as it has an output (as well as a headphone jack). This has come in handy as we have an issue locally of a lot of interference with our wireless mics is our public spaces. Someone is not focusing their signals properly and it is a constant fight to find an open clean frequency. With the DR-10C I run the mic into it and loop it out to the wireless transmitter and then I have a clean audio copy if I get any issues. It has saved my bacon a number of times. If the feed at the camera is clean then great, but when it is needed, it is a life-saver...no re-dos in live events. I don't know why this unit is not available in the US.

[@curtisjudd]

Jeff, thanks for the info regarding the DR-10C. I think it is not available in the US due to patents held by other companies. It sounds like a very useful little recorder.

[@insanejughead]

Whoa! Whoa. Whoa... ~43 minutes? You must be under the impression that I like long and drawn out cinematics that are full of in-depth technical details... Yes, I love Kubrick's movie catalog. How did you know? 😂

[@insanejughead]

Tarkovsky, too! I love his work even more than Kubrick.

[@curtisjudd]

😀

[@Zylaw1]

Thanks for all the work you did on this video, Mr. Judd. As a performing singer songwriter, I'm finally getting around to doing some better quality music videos and live concert footage of various projects. I'm just scouting around to get a feel for what might be the most effective gear for a guy who wants quality but doesn't get paid to do it, as you mentioned. Also, I want to factor in not having to duplicate gear so the system I end up starting with will work for my private studio and also be mobile enough to take out on gigs to do video's there as well. Of course, your material is a bit of a stretch for a guitar-picker like me to wrap my head around until I get more advanced but I learned a ton from this in spite of my entry-level ability. I have a much better idea of what to look for than I did before I ran across your material. Looks like I'll be learning a bit more about the DAW for dedicated music performance recordings, as you mentioned. Thanks again . . .

[@curtisjudd]

Thanks Sheldon and best wishes on recording your projects!

[@timwilson2307]

For my money, this is the most sane, sober and savvy guide to real-world pro audio you can find on the net.

[@curtisjudd]

Thanks Tim!

[@fibboobbif]

Outstanding "Apple" Zaxcom, from 40:00: MARF, Neverclip and tighter wireless bandwith can be HUGE advantages in the professional environment. Not to mention that incredible Deva 24-tr machine, that may also allow multitrack music recording on highest level, as i can imagine.

[@curtisjudd]

I hope to work with the new Zaxcom Nova here pretty soon.

[@fibboobbif]

@@curtisjudd Looks like a hot thing. Imagine you paid about the same for a Nagra mini recorder in the old days... kzbin.info/www/bejne/g3jOeXyPqp6taac

[@franklong6269]

Great video - superb - very informative. It is interesting that this video has almost 600,000 views and your subscriber base is only 185K. This is a testament to the high quality of information your videos are providing.

[@curtisjudd]

Thanks Frank.

[@marcbaptista]

A brilliant, and comprehensive review that is completely unbiased. Thank you for your effort, it's much appreciated.

[@curtisjudd]

Thanks Marc!

[@fibboobbif]

I am not a professional video sound guy, but i enjoyed every second of this interesting video. Thats what i call unbiased information.

[@curtisjudd]

Thanks fibbo!

[@busyak]

Thanks for the video! Some F8 insights after 2 years of use: TLDR: F8 is fantastic and I wholeheartedly recommend it after 2 years of very active use! Best value and portability without compromising features. Can rival significantly more expensive big boy gear. Full: got an F8 in 3/2017. Had been working as a mixer for just over a year at that point (booming before) and I was renting kits for mixing jobs, so this was my first recorder. Such a great piece of hardware, especially considering the price. Originally thought this was temporary on my way to a 633 or 664 but this turned out to be so good I don’t see a reason to upgrade anytime soon! Feature set is robust enough to (mostly) rival 633/664 but it’s much more portable - perfect for travel or low key productions where discretion is required (sensitive subject docs or stealing shots on fiction without a permit). Limiters are fine, but dual record is really where it’s at: set one input to two tracks at different gains of your choosing and you always have a clip safe track. I use it 99% of the time on the boom track. Game changer. F8 may not be on par with Sound Devices’ tank-level build quality, but I’m not the most cautious of mixers, and my F8 shows minor signs of wear cosmetically but nothing else. Don’t settle for the ‘prosumer’ tag, I’ve taken this on big jobs and it can handle almost anything that’s expected of the $4k competition. Can’t speak to service as nothing has gone wrong (knock on wood). Some minor cons: In my experience, TC may drift when powering off and on, but my battery powers me through a full day, so I just power down once or twice a day and make sure to jam every time. Director/boom feed requires a wonky hookup - either route one of the outs to a comtech or split the headphone feed to your headphones and comtech. Neither is ideal but it’s a minor inconvenience frankly. The F8's Headphone amp does colour sound a bit, but it’s for monitoring levels so it’s never been a concern for me. I know how my mics sounds and can tell if something's off even with the headphone amp’s discolouration. I've heard that the F8n's headphone amp addresses this issue. Didn’t even know about the firmware update! Need to check it out. Honestly could not recommend this recorder enough! Never tried the F8n (and don't see a need to upgrade because the changes are minor in my opinion), but it's the same price I paid for the F8 back in '17 with more features and improvements, so it's an even better value! If I were to pick something higher end, it would be a 6-series Sound Devices recorder. I’ve used them many times and know how intuitive and tough they are. Zoom F-series devices appear to be largely inspired by SD's 6-series. Not a big Zaxcom Nomad fan from my limited experience with it. BUT!!! I honestly cannot say that I feel the limitations of the F8 in comparison to SD's 6-series, other than prestige and brand reputation. If I did need a feature I was lacking on my F8, I would probably rent a 633 for a specific job rather than upgrade.

[@marctronixx]

busyak let me thank you for writing this. I value real world opinions on things and I’m thinking of getting the F8n. Ive had a few recorders (all tascam since TEAC/TASCAM were all I knew back in the 80s wen getting into audio/music production) and felt zoom was inferior to tascam. This video and your comment has swayed my mind a bit. Ive a dr 680MKII and i may move on to the f8n. Your comment was a good reason I’m leaning that way and i want to thank you. I know how “brand prestige” can come into play on a show and it seems the zoom series is better than I originally thought.

[@curtisjudd]

Wow, thanks for the detail! Really helpful!

[@greatvedas]

Epic review! havent such exhaustive and wide range of review ever. Truly professional Curtis!

[@curtisjudd]

Thanks Venkat!

[@1ronman]

Read summary in the beginning and went straight to pressing thumbs up, just because it is the best summary I've ever read lol. And the video is fantastic! Thanks A LOT👍

[@curtisjudd]

Thanks Ilya!

[@ThumbsAtWork]

I recently bought a MIxPre-3 largely based on your reviews. I also have a Zoom H5 and I am very happy with both. I use them for field recordings. I sometimes feel the need for a smaller recorder I can carry in my pocket at all times. I'll have a look at a Tascam DR-05. Thanks for all the excellentvideos. Keep up the good work!

[@curtisjudd]

Thanks Johan!

[@StevesStrayStuff]

After watching your video, I purchased the ZOOM F1 with the shotgun mic and lapel mic. What a difference in my video's audio quality! I do like the shotgun mic, but the lapel mic is well worth the investment. Thank you for the tips. I can watch a video with so-so video, but I cannot watch a video with crappy audio. Thanks for the help, my last four videos sound very good now.

[@curtisjudd]

Excellent, Steve. Congrats on the improved audio - keep at it!

[@OwenCrowley]

These reviews really fufil a need for informative, fact filled equipment reviews. I like how you place options in the context of use cases, and also how you require the viewer to come to their own determination for their needs.

[@curtisjudd]

Thanks Owen!

[@scj1941]

This is the best gear-review/comparison video I've ever seen.

[@curtisjudd]

Thanks Steve!

[@dubztop10]

This is the best video I’ve seen on audio gear. Much appreciated

[@curtisjudd]

Thanks Dubz Superstore!

[@mack_solo]

9:20 Yep, I concur. I have three Tascam DR-60D's. On one of them, BOTH XLR socket spring hook mechanisms collapsed and made cables unremovable. It took me at least three hours to have the cables unplugged, with minimal damage to the recorder's enclosure - which as you mentioned is a bit plasticky and susceptible to forceful dealing with - and by sacrificing the XLR cable plugs. My future fix is to have that one recorder dedicated to either a DSLR rig or a desktop setup, hooked up via interconnecting short XLR cable. This way i can still connect a mic via various length cables and not be stuck in a damaged socket on Tascam. Useful comparo, thank you Chris!

[@curtisjudd]

Thanks Matt!

[@mukymik6414]

You made a very complex subject more easy to understand without baffling us old technophobes, the reasoning behind the types and their attributes very concise, at the end of the day it is horses for courses but this helps a great deal, thank you.

[@curtisjudd]

Thanks MukyMik, appreciate the feedback!

[@RandyPollock]

Without a doubt, this helped me make decisions for shooting video with my Fuji X-T3 for our church during COVID-19....thank you so much for this video.

[@curtisjudd]

Glad to hear. Best wishes on streaming the services!

[@urbannpa]

I had been using Tascam Hand Held recorders (004) and a 24 track console (DP 2488) mixer for years. My Daughter gave me Her Zoom H4 and I could not believe the sensitivity when I was recording outside sound EFXs. I now own a Zoom R16 16 track recorder and love it.

[@curtisjudd]

👍

[@nicholasragusano2284]

I do use the Tascam DR-05. I've was able to purhase an inexpensive attachment for my DSR Canon camera that works quite well. For syncing, I often do it the old fashioned way--a clap board. I have been very pleased with the results. The one dificulty I had with the Tascam was a bit of overmodulation when recording. One must remember (me) to set the volume a bit lower. I've now learned where that is and expect my recordings to come out much better.

[@curtisjudd]

Thanks for sharing your experience Nicholas!

[@AllThingsFilm1]

Iv'e been using my Tascam DR-60DmkII for about a year now. And I've been able to get excellent sound quality out of it. I've used it in combination with the Sennheiser MKE 600 shotgun mic. I have yet to drop my Tascam. I did have a couple times where it was difficult to disconnect the XLR from the Tascam, but that only happened a couple times, and hasn't happened in several months.

[@curtisjudd]

👍

[@gabecaraballo1228]

I appreciate the knowledge you share with us and your unbiased review of equipment, that coupled with the production quality of your videos really helps with developing informed decisions! Thanks much, and I'll stay subscribed.

[@curtisjudd]

Thanks Gabe!

[@leemd5049]

Truly appreciate your in-depth analysis of all these devices. Fair & balanced reviews. Especially the part you mentioned about making whatever device a person has to work for them, because, at the end of the day, to say that one over another or all others just simply can't apply. They all bring attributes that produce an amazing end product & result. Thanks once again for doing this. 👏👏👏👏👏👏👏🎬

[@curtisjudd]

Thanks M Lee!

[@folkloreofbeing]

Came for the audio device review, stayed to listen to the well spoken, handsome man.

[@curtisjudd]

Thanks!

[@JoeDinesSound]

thank you so much for this extensive research and presenting it so clearly and non biasly. very helpful and educational !

[@curtisjudd]

Thanks Joe.

[@StevenSclafani]

When using line out to the camera, the Zoom H5 and H4N Pro both generated what sounded like digital interference in the signal. It's faint, but a deal breaker for me. I wound up going back to my Sony PCM M10 and D50 which don't have XLR inputs but in terms of noise floor, battery life and ease of use, they outperformed the Zooms.

[@orjanjhmagnusson]

Steven Sclafani Curtis have asked to borrow a Sony PCM-10 and a Tascam DR-100 mkIII. I do hope they let him try it,...in April perhaps...

[@curtisjudd]

Agreed. The Zoom handy series are not a great choice for sending the audio to camera.

[@StevenSclafani]

With the Sony portables, you can get around the lack of XLR and phantom power with a Denecke PS1-a box. They're not too expensive and seem like pro quality.

[@curtisjudd]

@@StevenSclafani Good idea, thanks.

[@MartinAraka]

Thanks for the comprehensive video on the pros and cons of the different sound recorders. Be blessed!

[@curtisjudd]

Thanks Martin.

[@sethwilliamson]

Great video Curtis! I hear you loud and clear on the firmware issue! Lesson learned. Regardless of the make and model, let the other guy snag the firmware updates first. Wait a week or so for the bugs to reveal themselves and the dust to settle. For that matter, flashing firmware while you're in the middle of a project is asking for trouble if it can be avoided. At the very least I'd pick a window where I have a few days off in case it all goes sideways.

[@curtisjudd]

Sage advice! Thanks!

[@Yasharvl]

A fantastic and practical review of audio recorders! Would be great to do an updated version of this review.

[@curtisjudd]

👍

[@perryheun3047]

So, I have the Tascam DR-10X here in the US. It is actually the XLR equivalent to the Tascam DR-10L (for Lavaliers). It works excellently for a single input recorder. I love that it can record two levels simultaneously to prevent clipping. No phantom power, though, which is why I pair it with an Audio-Technica AT897 which takes a AA battery. I've recently been considering the Tascam DR-10L since I'm impressed with the one I have. Your recommendation tips the scale considerably.

[@curtisjudd]

Thanks Perry for the correction on the DR-10X. Best wishes!

[@bananasandbass]

I recently wanted to rent a Zoom H6, but the rental company didn't have it for that day. So they gave me the Sound Devices MixPre3. I never worked with it before and was really impressed by the built-quality and how it handles. It sounds very clean and was easy to work with. It's a step-up from the Zoom recorders. But I feel that if you're serious about audio and use it a lot, Sound Devices has what it takes.

[@curtisjudd]

I agree.

[@DJUnprotected]

Thanks for the over view. I went with the Tascam DR60 for podcasts and to record audio from my computer while doing tutorials. Awesome insight man! :D

[@curtisjudd]

👍

[@shortsalbhelamiusicstudio5198]

Hello

[@mattstevens1178]

Honestly impressed with your approach to explaining and comparing these recorders, Personally, I like the Zoom products I was shocked by the quality for the price of the H1 back in 2011 since then inevitably I've bought more H4, H6, F8, and recently an L12 for candidate forums & a few podcasts use it for remote recording. I also don't have anything negative to say about the other brands, I just found one that works for me and hasn't let me down and absolutely no experience with the high-end brands.

[@curtisjudd]

I appreciate that approach. And I agree, Zoom makes some good products, especially the F series.

[@paranormal_uk]

Very informative video Curtis. I must say, my interest is in the zoom H1n & H4n range but I must compliment on your incredible lighting, it's terrific.

[@curtisjudd]

Thanks so much!

[@PDU_Tutorials]

But the Tascam 701D has syncing via HDMI, do the other devices have that feature?

[@curtisjudd]

MixPre also has it. It didn't work very well in my tests with the DR-701D but perhaps they've fixed it since then.

[@PDU_Tutorials]

@@curtisjudd Thanks for the info. I'll have to give the MixPre a closer look.

[@ToneLovesLove]

This was amazing. Worth every minute of watching.

[@curtisjudd]

👍

[@kwamesha3477]

As always, great detailed analysis Curtis. Since I have gotten more into audio for video/streaming in the last couple of years I now have the need for a quality audio recorder/interface. I'll start with the Zoom H6 as the price has dropped from some distributers. Thanks again for the feedback on these great devices.

[@curtisjudd]

👍

[@Cyberplayer5]

I have an early TASCAM model of the DR-05 more recently I bought the TASCAM DR 100 mkIII. It is great for many applications. I use it for field recording now but plan to use in film making too.

[@curtisjudd]

👍

[@mikestranks3636]

Great reviews as always Curtis. No flannel or 'look at me!' nonsense. Just facts and considered opinions. I have the Zoom F4. Does all I want for location work as I have another portable multitrack for static indoor stuff. My only real criticism of the F4 is the headphone amp. I have low-impedance cans so that's not an issue, but I find it does colour the sound and emphasises the high mids and top end. Not a big deal when you're just confidence monitoring, but I wouldn't want to attempt any critical mixes using that headphone amp.

[@curtisjudd]

Thanks Mike, agreed on the headphone amp.

[@alaskanfrogman]

I have found some problems with the XLR cables getting stuck, it isn't so much the receiver device as it is the cable for the XLR Mic. Different companies manufacture differently and there are minor but significant differences in how one company molds a cable than another. It can be a slight size difference of only 1/1000th of an inch where one cable is just the tiniest bit thicker than the other, and the receiver plug receptacles follow that same pattern. This can and often does result in XLR cables getting jammed into an XLR input. I worked as a media assistant at The Alaska Native Heritage Center for a few years and experienced this problem fairly frequently. This was because The Heritage Center, A "Nonprofit" organization had to buy products they needed from the most affordable place that were available. Sometimes we had as many as 5 different XLR cables from 5 different companies. The results were cables that didn't fit properly and were either too loose or too tight, or didn't fit at all for whatever reason. I was often asked to work at and repair a camera that had a cable stuck. I found that a slight dusting of graphite to the base of the insert female and male joint would work just well enough to loosen the jammed pieces. Then after working them free, I'd put a light coating of graphite powder on the XLR Male, being careful NOT to allow any of the powder to touch any of the contacts. Graphite is electrically conductive and can cause a cable to short out. After a light dusting of graphite, I would take a clean lint free cotton cloth and wipe off the excess graphite. From then on the cable functioned fairly easy and almost trouble free, albeit with a very tight fit. Where the XLR Mic cables comes from are something of a determining factor to how well they will connect, stay put, or come loose. If a mic cable is made by the company that makes the microphones, it will be secure with the mic. But often times an XLR must be mated and connected to a product like a recording device, or video camera, which was NOT made by the company that manufactures the Mic or Cable. This can lead to problems with loose connections, or jammed XLR connectors. It is always best to do research to find out which products are compatible with your microphone and cabling system. It will avoid a lot of headache of cables too loose, or cables jamming in your recording devices. I figured this out the very first time I had to remove a jammed cable from our expensive camcorders that we filmed with at The Alaska Native Heritage Center...

[@curtisjudd]

Thanks for sharing your experience!

[@bentonpix]

I agree that the Tascam 701D isn't the best choice at this time, but I bought it shortly after it was released and still use it today. It still works and sounds fine, especially if you're not directly comparing it to better recorders. And even if you do, I don't think most audience members would notice any difference at all, but I'd say the main issue I have with the 701D is the menu interface. It's crazy complex, but after several years, I have managed to sort of figure it out. I'll keep using it for now, but either the Zoom F4 or the MixPre-3 is on my short list if I ever decide to replace the 701D. Thanks for the great review!

[@curtisjudd]

Thanks Benton, those are my sentiments as well. The 701D is ok, and most people won't notice the difference in audio quality.

[@paulfairchild8942]

Very helpful video as always. We purchased a Sound Devices MixPre-6 after watching one of your reviews, it's been a great upgrade from our Tascam DR-70D (a good recorder too but we needed more inputs).

[@curtisjudd]

Thanks Paul. Happy recording!

[@stevenbeitzel864]

Thanks for the great review. We have a Mix Pre 6 that our college students use for filmmaking. We bought the battery sled that takes one or 2 Sony camcorder batteries. The mix pre will run all day on a pair.

[@curtisjudd]

Thanks for the info Steven! I rely on that L-mount sled quite a lot.

[@hubaszarvas2106]

note@8:17 - I guess syncing here works only in case when both devices are recording with the same settings (sampling rate/bit)

[@curtisjudd]

The audio feed from the recorder is analogue so if you're not also planning to record with the recorder at the same time and then sync that in post, the sample rate bit depth does not matter from a sync point of view. However, yes, if planning to manually sync in post, best to use the same sample rate/bit depth on the camera and recorder.

[@yyyyyves]

Thank you. I have neither of these machines, but there seems to be a MAJOR bit of info missing re the Zoom F series vs. Sound Device mixpre 3, and that apparently vastly superior recording capacity of 32-Bit Recording / 142 dB Dynamic Range, that all but makes sound saturation impossible... I think.

[@curtisjudd]

This video was made before either of the new gen 32-bit float recorders had been announced. Here are my thoughts on the two as of December 2019: MixPre II Series: kzbin.info/www/bejne/bp21h6GDhJZnoZo Zoom F6: kzbin.info/www/bejne/mKqwi557q76Fgdk MixPre MixAssist vs Zoom AutoMix: kzbin.info/www/bejne/pYWvl5qHaNaGm80

[@DavidHHermanson]

Curtis Judd, Just for your info, CEntrance, a Chicago based company, has been in the pro-audio world for 20 years, occasionally under their own name, but more as a partial or whole product consultant and manufacturer for companies as diverse as Alesis, Zoom and Korg.

[@curtisjudd]

👍

[@MintMacelodeon]

Something I've been taught about that volume knobs on mixers from several film Audio Mixers was to set the headphone volume and forget about it (per location) to make an easier edit and more consistant audio. Something like this could be great for set Mixers where you're shooting the same thing 5+ times. *Correction, the headphone volume knob should only be adjusted when tuning your specific headphones. Don't know what that is? turn the volume up right untill if feels too uncomfortable to listen to, youll "feel" when you reach the right point. The Zoom F8 has a lever styled button for that reason. Another fun fact, Film editors use the same tone to tune their headphones in the editing room, its the same loud ass tone played before some movies to tune your speakers.

[@curtisjudd]

👍

[@sergeantcrow]

F1 bulky ! I have been using a Mobile Pre (older version.. ) with a laptop, cables, big condenser mics, and shoulder bag to record outside. My recent improvement on that, is a DSR 570 WSP body with firewire to mini handycam, or use my working 570 to it's tapedeck.. I am excited for on the way (Thanks to eBay...) is the wireless transmitter/reciever, big sony mic and lavalier...

[@curtisjudd]

I suppose it is relative. I was speaking in relation to typical wireless body pack transmitters vs the F1. 😀

[@jasonnakai4700]

Another amazing video on sound mixers by Mr. Judd. Currently getting a mix pre 10t. I like the lighter weight and smaller form factor than SD-633.

[@curtisjudd]

Thanks Jason. Good luck with the 10T. It's a great recorder/mixer.

[@MANaboutTOOLS]

Curtis, great review as always. How about the Deity s-mic 2 into the Zoom H4N pro? Enough gain out of the s-mic 2 for that recorder?

[@curtisjudd]

Probably just barely. With all the other options available, I'd choose something else.

[@MANaboutTOOLS]

@@curtisjudd Thanks! I think I'll try the Zoom H5 then. Or the Tascam as it's much cheaper than the H5.