Audio media recorders guide 2013

1 RECORDERS2013

THE INTERNATIONALBUYER’S 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 AT I O N

F R O M T H E N E W B AY M E D I A G R O U P

I N T E R N AT I O N A L E D I T I O N

AUDIO MEDIAPRODUCED BY

In association with:

2FouR good REAsoNs whY You'd NEvER wANT To usE A CoMPuTER

AT A LIvE show

Multi-track technology for the 21st century

tel: +44 (0) 1223 911 [email protected]

BLACKBOX BBR64-MAdI RECoRdERDesigned 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 RECoRdERDesigned for capturing multiple channels of live audio material via Dante network.

Applications in Live Music, Broadcast, Film & TV Sound.




BLACKBOX BBR1 RECoRdERUnique technology lets you capture live multi-channel audio without taking a computer or DAW to the

performance. Robust, rugged, rack-mounted and ready to record.


• Analogue and digital i/o options



BLACKBOX PLAYERDedicated multi-channel playback option specifically designed to replay backing tracks and multiple

surround stems for live shows and themed entertainment.

• 24 channel playback in one rack unit!

• Analogue and digital i/o options

• Synchronous playback to timecode

• Available as plug-in for BlackBox Recorder

joecoAMRecorderBuyersGuide2013:Layout 1 04/10/2012 16:18 Page 1

3c o n t e n t s Welcome to Recorders 2013, an international

Buyer’s Guide. We’ve been busy rooting around the professional recorder ranges to bring you a healthy stack of options in the recorder genre.

This publication is a collection of promotional articles looking at six of the world’s leading recorder manufacturers and their product ranges. Inside you’ll find the stories behind the gear – the ethos’ and design ethics that go into producing one of the key components in professional audio – and plenty of info on the products themselves. In addition we’ve collated a directory of professional recorder manufacturers and commissioned an article that takes a fresh look at the basics of the audio recorder world.

Even through the rise of the DAW, the need for reliable, high quality, and feature-rich recording devices has never gone away – as confirmed by the recent peak in new models, especially for the location recordist and audio journalist. New media types have accelerated development and now you can choose CD, hard disk, DVD, and solid state types to suit your needs and your budget. There’s also a vast array of audio file formats to handle, each one bringing the benefit of choice in data economy, audio quality, archive suitability, and more.

Even newspapers and other print-based media are finding the need for suitable recording devices now that podcast and multimedia channels are becoming a necessary part of everyday content provision.

Are you a Foley editor? Are you a production recordist? Are you a new media journalist? Are you a broadcast professional? Are you a sound designer? All of these roles and more require the best in recorder technology to make your job easier and your results better. Do you know what functions, facilities, and frills are available nowadays? Wouldn’t you like a large choice put right in front of you, rather than starting your hunt through the normal myriad of sales and dealer channels?

This guide is the place to start your recorder shopping spree. This, and the other Buyers Guides in the series (Monitors, Microphones, Consoles, Live Sound Technology, Live Sound Applications, and DAWs) are Audio Media projects, designed to help you find your way though the information explosion and find the product that suits your needs. Audio Media is an internationally distributed magazine that deals with professional audio production in film, TV, radio, music, games, and on stage.

It’s available in both print and digital editions. For more details, go to www.audiomedia.com.

The NewBay Team

Sales ManagerGraham [email protected]

Editor In ChiefPaul [email protected]

Editorial Manager (Europe)Lanna [email protected]

Design & Production ManagerJohn-Paul [email protected]

AUDIO MEDIA www.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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4 In my day I’ve 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 with the longest performances.

Back To BasicsThere 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, fi lm, 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-amplifi ers, high quality headphone amplifi ers, and better build quality – which is extremely important if you’re going to be performing mission

critical recordings in challenging locations. However, some of the least expensive recorders are stuffed to the gills with bells and whistles, and many feature multi-microphone and multi-track capabilities, along with the ability to work at high sample rates and generate 24-bit fi les.

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 fi eld. Solid state drives mean that the power

consumption of the audio capture parts of the device is usually pretty low,

so standard batteries are usually useable – and many come with

built-in rechargeable cells that can provide hours of

recording time. Audio is relatively meagre in

its demand of drive space, so 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 confi guration, and record directly to

SD cards. Others can record at up to 96kHz sample rates and often

feature a 3.5mm stereo jack input for connecting external microphones – many of which provide power for condenser and back-electret

devices. Characterised by their

extreme portability, these devices are useful for interviews and in discrete location recording. I’ve been extremely impressed with the results from the Zoom H4n, Olympus LS5 and Tascam DR07 recorders when used to capture both music and environmental recording. One common characteristic of the least expensive recorders is that they often rely heavily on screen menu-based systems to access their often-sophisticated feature set and, because of their small size, it’s not always easy for aging eyes to navigate the menus. Once set up though, level and transport buttons are usually easily accessible – although making changes to sample rate and fi le formats could prove frustrating when the pressure is on. These recorders often feature auto recording start after a set level threshold is reached, fi le editing, built in compressors, limiters, and automatic level control (ALC – shades of my old Phillips cassette recorder there!), which can be extremely useful when you’re capturing unknown sources.

Some of these devices don’t only do audio; the Zoom Q3 is actually a pretty nice HD video camera hitched onto a high-quality stereo recorder. I often capture lectures and performances with the ALC switched on and I’m always impressed with the audio quality such a simple set-up can produce. The Zoom H2n allows you to record in several modes, XY stereo, 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 fi nd that screwing in an inexpensive tabletop tripod and using it as a pistol grip solves this problem.

4 PORTABLE RECORDERS

Portable Recorders

external microphones or mains power supplies to achieve anything like acceptable results. The advent of direct to data recording means that the current crop of portable systems are… well… more portable and, just as importantly, means that even the least expensive systems can produce high quality recordings and cope with the longest performances.

Back To BasicsThere 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, fi lm, 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-amplifi ers, high quality headphone amplifi ers, and better


have to have to be truly useful in the fi eld. Solid state drives mean that the power

consumption of the audio capture parts of the device is usually pretty low,

so standard batteries are usually useable – and many come with

built-in rechargeable cells that can provide hours of

recording time. Audio is relatively meagre in

its demand of drive space, so 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 build quality – which is extremely important if you’re going to be performing mission

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 confi guration, and record directly to

SD cards. Others can record at up to 96kHz sample rates and often

feature a 3.5mm stereo jack input for connecting external microphones – many of which provide power for condenser and back-electret

devices. Characterised by their


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 fi les.

Apart from being able to be easily

are several features that all portable recorders

extreme portability, these devices are


recorders 2013recorders 2013

5© 2012 TEAC Corporation. All rights reserved. All speci� cations are subject to change without notice.

TEAC UK LimitedSuites 19 & 20, Building 6 | Croxley Green Business Park | Hatters Lane | Watford | Hertfordshire WD18 8TE | UK

Southern Area Sales Manager: Alex Farrell | Mobile: 07779-795656 | Mail: [email protected] Area Sales Manager: Russ Fitton | Mobile: 07836-329281 | Mail: [email protected] | www.tascam.co.uk

ww

w.t

asca

m.c

o.u

k | w

ww

.tas

cam

-eu

rop

e.co

m

COMPAC T STUDIOS

Even more Portastudio than ever beforeDP-32: The 32-track luxury class among Portastudios

DP-038 tracks + stereo master track on SD/SDHC card, built-in stereo condenser microphone, 2 XLR inputs with phantom power, reverb processor plus mastering effects, CD burner for mastering and backup …

DP-2424 tracks on SD/SDHC card, high-contrast LC colour display, dynamic and send effects, dedicated controls for direct access to EQ, panorama and effect send channel, CD burner for mastering and backup …

32 audio tracks (8 mono, 12 stereo), best-take function with additional virtual tracks, 40 channels during mix-down (32 playback channels + 8 input channels), dynamic and send effects, mastering effects including EQ, compres-sion and normalisation, CD burner for mastering and backup, intuitive ease of operation …

6 Some recorders, such as the Zoom H4n, can record two channels via their internal microphones while simultaneously capturing two more via their XLR inputs. The H4n can also act as a multi-track recorder, Mid-Side decoder, and can also be used as a basic USB audio interface with a computer. The Zoom’s microphones are set in a close X-Y confi guration that attempts to limit any phase issues when recording, while the Tascam DR40 offers a novel microphone set-up that allows you to move the microphones from a X-Y to an A-B setting – and it also has a four-track capability and XLR microphone inputs. The Roland (Edirol) 09 builds on the successful R-1 and R-2 recorders and provides most of the features we’ve come to expect from these devices, but in an extremely compact package – and it also comes in red!

On SetMove up the food chain and portable recorders start appear with two extremely useful features; XLR microphone inputs and/or better ergonomic design. The aforementioned Zoom H4n is extremely popular with both environmental recordists and on-set sound engineers and, consequently, there’s a large add-on industry that has built up around the device. These include professional windshields, and my favourite accessory: a box that slips into the Zoom’s XLR inputs and provides connection and power for my DACS binaural microphones. Devices such as the Tascam DR100 offer choices of onboard microphone type (X-Y and omnidirectional in the Tascam’s case) as well as XLR inputs, but also all of the main controls for input/microphone selection, level range, phantom power, and transport controls available on dedicated buttons – which I fi nd extremely

important in any situation where peering at tiny menus might be an issue. In my opinion, the microphones

and pre-amplifi ers on the DR100 are also signifi cantly better than

those on the really low cost devices, as are those on the Marantz

PMD661 and Olympus LS100 and the Sony PCM D50 – the latter having the advantage of two microphone pattern choices. Adding all these dedicated controls inevitably increases the size and weight of the device and most would need very big pockets for transport, so you’ll need to use a carry case for them. But the advantage that this increase in size brings in is in low handling noise levels, ease of use, and a feeling of quality that might have the unexpected consequence of increasing the confi dence your director has in your abilities!

Professional recordists will fi nd that the most important features on their portable recorders will be clear metering, dedicated controls for setting for record and playback levels, along with other controls for useful day to day functions such as transport and limiting. Also important is a high-quality headphone output, and physical reliability and ruggedness. The Nagra LB is a two-channel digital recorder that takes this philosophy and runs with it. Built into a case that would survive being run over by Steven Segal in a Boeing 747, it’s a

two-channel recorder with a huge, easy to read colour screen, dedicated controls for the most useful functions, XLR inputs and outputs, and high capacity rechargeable battery capabilities. However, though this machine has a single built-in electret microphone, it’s really designed to be used in conjunction with your DPA

or Sennheiser microphones on location. This is a trend that we see in the higher-end portable recorder market, and one which makes a lot of sense as you’re unlikely to be able to mount the recorder itself near the source and will usually be using a boom or radio microphones. The Sound Devices 702 also exemplifi es this philosophy and is housed in a thoroughly rugged case and features a high resolution LED display, clear metering, and dedicated

controls for the most used functions. Sound Devices’ microphone

pre-amplifi ers are amongst the best in the business, and what you’re effectively getting here is a set of boutique-grade pre-amplifi ers 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 fi rst 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, the SS-R200 accepts an IBM compatible keyboard, and a dedicated Tascam remote is also included. Unusually, there are also RS232 and parallel interfaces for direct computer control of the device. On lifting the Marantz PMD 671 out of its box I was overwhelmed by a strong sense of nostalgia for my old portable compact cassette recorder from the same company


Portable Recorders

PMD661 and Olympus LS100 and the

the advantage of two microphone

recordists will fi nd that

controls for the most used functions. Sound Devices’ microphone

pre-amplifi ers are amongst the

state SD card-based recording

future with manufacturers moving to Solid State Drives (SSD) when ultra-long or multi-channel

recording times are needed. to expect from these devices, but in an extremely compact package – and it also comes

XLR microphone inputs and/or better ergonomic design. The aforementioned Zoom H4n is extremely popular with both environmental recordists and on-set sound engineers and, consequently, there’s a large add-on industry that

Professional recordists will fi nd that the most important features on their portable recorders will be clear metering, dedicated controls for setting for record and playback levels, along with other controls for useful day to day functions such as transport and limiting. Also important is a high-quality headphone output, and physical reliability and ruggedness. The Nagra LB is a two-channel digital recorder that takes this philosophy and runs with it. Built into a case that would survive being run over by Steven Segal in a Boeing 747, it’s a


important in any situation

those on the really low cost devices, as are those on the Marantz

7 that had accompanied me throughout my fl edgling recording career. The PMD 671 records to Compact Flash cards of course, but in other ways it’s similar to its mechanical predecessor with its chunky dual concentric input level controls and functions that are easily accessible when slung across the shoulder. Also, like its cassette-based ancestor, it features a speaker for on-site playback while its professional nature is emphasised by software based features such as Edit Decision List (EDL) and Broadcast Wave ID tagging. While the aforementioned devices are complete solutions, if you wish to simply record stereo audio on location, Zaxcom’s ZFR series are tiny Timecode based SD recorders that can be used, for example, where wireless reception to the main recording rig is poor or you need to capture audio remotely and unattended.

Back To Multi-trackIf you want to capture a multi-track of a live band or you work in fi lm or TV production, you’re going to need more recording channels. If you’re on set, you might be recording several channels of audio from actors and also have to capture environmental atmos tracks. While many experienced engineers use portable mixers to produce audio pre-mixed for the dub, most will want to generate separate stems for at least the main actors on set. Most of the features and capabilities that you’d need for location stereo recording will also be needed for multi-track – apart for the need for internal microphones, as these recorders are usually going to be used with fi xed mics or wireless systems. Tascam’s DR-680 is, effectively, six DR-100s in a neat portable package intended to be slung over the shoulder. Six microphone pre-amplifi ers (four on XLR, two on TRS) are

found on the side and dedicated controls for input type, phantom power and menu controls lie

on the top of the unit, while the LCD screen/meters and chunky transport are on the ‘front’ (or top when it’s in use.) The DR-680 records to six mono broadcast WAV fi les and generates a stereo mix automatically so you can get a rough off to your dub engineer right away. Its big brother, the HSP82, is a thoroughly professional machine with a price tag to match. Recording eight channels at up to 192kHz on to dual SD cards (for back-up,) its light yet rugged aluminium case can be run off multiple power sources, and it can accept timecode and word clock sources. Nagra’s VI is an eight-channel (four mic, two line, two mix) unit that brings the company’s renowned audio and build quality into the multi channel portable recorder market. It records to an internal 2.5-inch hard drive, and a copy can be streamed to the internal Compact Flash card for back-up and transfer. Features such as the ‘crackle free’ digital encoder system mean that it should perform reliably in any environment, and the recorder’s ability to chase timecode enables it to slip in nicely in any fi lm or TV production facility. Sound Device’s 744T is a timecode enabled four-channel multi-track recorder that captures audio on hard drive, Compact Flash, and external Firewire drives – or any combination of all three for redundancy and, as the need for power is everything on location, it can utilise standard Sony camcorder batteries. The two microphone inputs are of the

quality to be expected from Sound Devices, while the

two line inputs could be used to add an

external sub mixer. If you need

more recording channels, the 788T expands

of its sibling’s capabilities with up to twelve

channels of audio including a stereo mix track and two aux ‘stems,’ along with the capability to handle AES42 standard digital microphones. Zaxcom’s range of portable multi-track recorders combine high quality internal mixing with dedicated faders alongside multi-track recording to Compact Flash cards. The Deva series are ten or sixteen channel units with up to twelve microphone/line inputs and multi-channel digital outputs. Unusually, the Deva units feature compressors, EQ, and delay on each channel, reducing the necessity for an additional mixing desk. The Nomad series are dedicated recorders – for example, the Nomad Lite is a ten-channel unit that also features DSP effects, internal mixing, and is capable of sending up to three stereo mixes to up to fi ve outputs which might be to cameras on set, for example, while the Nomad 12 is, well, a 12-channel system. All of

Zaxcom’s recorders come in small, light packages with all controls easily accessible. The Zaxcom Maxx is an example

of the innovation fl ourishing 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.

ConclusionThe portable recorder market

is a mature one, with fi erce competition in the mid to low

price sectors – which inevitably leads to the development of innovative features, as each company tries to stand out from the others. These range from the capability to record using multi-microphone patterns, to other more musician- and journalist-friendly capabilities such as multi-track recording, tuners, and automatic level controls. When we get up to the more ‘professional’ segment of the market, there are still several well respected companies vying for your interest, all of whom are producing machines capable of delivering multi-channel audio reliably to your dubbing engineers on a multi million pound feature.

We’ve come a long way from clunky tape machines and even clunkier direct to video tape digital systems of the past, and the manufacturers of the current range of portable recording devices don’t look like they’ll be running out of ideas any time soon.

Recording eight channels at up to 192kHz on to dual SD cards (for back-up,) its light yet rugged aluminium case can be run off multiple power sources, and it can accept timecode and word clock sources. Nagra’s VI is an eight-channel (four mic, two line, two mix) unit that brings the company’s renowned audio and build quality into the multi channel portable recorder market. It records to an internal 2.5-inch hard drive, and a copy can be streamed to the internal Compact Flash card for back-up and transfer. Features such as the ‘crackle free’ digital encoder system mean that it should perform reliably in any environment, and the recorder’s ability to chase timecode enables it to slip in nicely in any fi lm

be to cameras on set, for example, while the Nomad 12 is, well, a 12-channel system. All of

Zaxcom’s recorders come in small, light packages with all controls easily accessible. The Zaxcom Maxx is an example

of the innovation fl ourishing 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.

ConclusionThe portable recorder market

is a mature one, with fi erce competition in the mid to low

price sectors – which inevitably leads to the development of innovative features,

THE INTERNATIONAL RECORDERS BUYER’S GUIDE 7

pre-amplifi ers (four on XLR, two on TRS) are batteries. The two microphone inputs are of the quality to be expected from Sound

Devices, while the two line inputs

external sub mixer. If you need

more recording channels, the 788T expands

of its sibling’s capabilities with up to twelve

THE INTERNATIONAL RECORDERS BUYER’S GUIDE

8Born out of the desire to meet new workfl ows for engineers, this compact and lightweight mixer-recorder benefi ts from 20 years of AETA Audio Systems’ expertise in high quality analogue and digital audio design.

The 4MinX brings new solutions, power, and fl exibility, without compromising on the essential needs of fi eld recording: autonomy, audio quality, and user-friendliness.

Whether broadcast or media industry (documentary, fi lm, 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 preamplifi ers. The 4MinX remains true to this reputation, and even offers the

user an improved mic pre-amp audio specifi cation:

• Maximum overall gain: 92 dB – useful for

dynamic and ribbon microphones

• Four Mic/Line transformerless inputs – very low noise (-128dBu) but with great fl exibility 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 FeaturesThe construction uses a stainless steel chassis and carbon-fi bre loaded polymer casing, to give both lightness and durability. The result is surprisingly lightweight at only 2.1kg including the on-board battery!

The design allows the unit to be used safely in extreme conditions (heat, cold, high humidity, shocks). The 4MinX is fully shielded against radio interference, and the casing has better resistance to denting and damage than heavier conventional metal structures.

Navigation of the menus is by a rotary encoder (thumbwheel) on a superb 3-inch TFT transfl ective 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 fl exible monitoring and routing capabilities, the 4MinX is ideal for almost any situation from TV/fi lm location sound recording to music recording. With six hours’ operation from its on-board battery, the 4MinX is remarkably lightweight and features high-end preamplifi ers, as always, from AETA Audio Systems.

4MinX: Mixer/Recorder Designed For The Most Demanding

track recorder (two to eight tracks) and portable digital mixer, the 4MinX is ideal for stereo as well as multi-channel productions.

AETA AUDIO is renowned for producing high quality mic preamplifi ers. The 4MinX remains true to this reputation, and even offers the

user an improved mic pre-amp audio specifi cation:

• Maximum overall gain: 92 dB – useful for

dynamic and ribbon microphones

give both lightness and durability. The result is surprisingly lightweight at only 2.1kg including the on-board battery!

in extreme conditions (heat, cold, high humidity, shocks). The 4MinX is fully shielded against radio interference, and the casing has better resistance to denting and damage than heavier conventional metal structures.

encoder (thumbwheel) on a superb 3-inch TFT transfl ective display, and offers a simple, fast, and readable user interface. Multiple buttons allow direct access to assignable functions.

(USB, Ethernet) to implement future features: MIDI device, transfer audio... and, since software can be improved and rewritten, the 4MinX is future-proof.

8 PROMOTIONAL FEATURE

+ + + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + +

9 THE INTERNATIONAL RECORDERS BUYER’S GUIDE 9

Power ManagementThe 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 presenter’s 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 project management 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 don’t record directly to tracks but create self-contained fi les that hold one, two, or more tracks depending on the selected confi guration. With the 4MinX it is possible to simultaneously record two stereo microphones on two different stereo fi les, 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 simplifi es metadata management.

A complete project management system satisfi es the needs of the most demanding users and generates sound report fi les automatically.

Flexible and PowerfulTo design the 4MinX, we were not afraid to re-write the rulebook in order to offer you more power and fl exibility.

The routing capability for each input and each output gives the user a completely free hand. A 4MinX user can set a specifi c interface

and adapt it to their own preferences regarding inputs and outputs.

Apart from the record sources that you include in each fi le,

the 4MinX offers additional powerful and detailed

routing, enabling the user to defi ne what is

sent to mix busses, and to analogue and digital outputs.

No need to go back into the menus – personal confi guration snapshots

allow complete fl exibility 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.

PricingThe 4MinX price is very competitive.

With 4MinX you pay only for what you need, and what your budget can afford. The 4MinX is an “evolutive product”, allowing you to upgrade at any time after purchase. You can upgrade your 4MinX from two to eight tracks recording, or add Soundfi eld monitoring with just a software upgrade, thus avoiding any return to the factory.

AETA’s 4MinX was given an award for technological innovation by SATIS Trophies 2011 in France for its compactness and future-proof technology.

4MinX: Mixer/Recorder Designed For The Most Demanding

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 fi eld.

Some references:1999: PSP3 – Stereo Pre-amp2000: MIX2000 – four channel portable mixer2007: MIXY – three mic/line stereo mixer

AETA Audio Systems18-22 Avenue Edouard Herriot

Parc technologique – Kepler 4

92350 Le Plessis-Robinson FRANCE

www.aeta-audio.com

t +33 1 41 36 12 00

F + 33 1 46 36 12 69

e [email protected]

8 PROMOTIONAL FEATURE THE INTERNATIONAL RECORDERS BUYER’S GUIDE

and adapt it to their own preferences regarding inputs and outputs.

Apart from the record sources that you include in each fi le,

the 4MinX offers additional powerful and detailed

routing, enabling the user to defi ne what is

sent to mix busses, and to analogue and digital outputs.

No need to go back into the menus – personal confi guration snapshots

recorders 2013recorders 2013recorders 2013+ + + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + + A E TA + + + +

10+ + + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + +

MAYAH develops technologies aimed squarely at broadcast and high-end audio production users. The Munich-based fi rm are specialists in problem solving for broadcasters – for example by developing systems like Flashcast, which allows different codecs (in fact almost all proprietary systems) to recognise each other automatically: a godsend in the cut and thrust of broadcasting and newsgathering.

The company has also been developing innovative hard and software products for in-house streaming, web radio, ISDN, other broadcast networking applications, and digital handheld recording. The original MAYAH Flashman recorder was one of the original

small, solid-state machines favoured by radio journalists the world over.

One of MAYAH’s latest developments is the Impload Triple R, Rapid Remote Recorder. This is a system that allows remote audio recording via the Cloud (online) with the key feature being the low latency, or delay, of the playback.

Studios and production facilities often need quick performer inputs from contributors and performers being situated in very remote locations, away from the studio. In the past the only solution has been to bring in the musician in – a costly and time consuming way to obtain what is often just a few bars of music.

With TripleR it now becomes much easier, less expensive, and far quicker to let the performer work from his home base or another studio location somewhere on the globe. TripleR combines the transmission of audio and also simple MIDI control through the Cloud.

The performer can listen to live playback from the production software with a minimum of latency. By choosing the open source edge technology Opus codec algorithm, audio is sent through the Cloud with a minimum of latency and stunningly high quality.

This is the fi rst product of its kind to offer a MIDI control data transfer, together with the edge technology codec algorithm Opus.

TripleR is also a fully operational PC audio board, with all controls not only accessible through the browser but also with a full set of front panel controls:• Gain Control• Mic/instrument input level• Phantom Power• Pad-Headphone Volume

TripleR also features the following I/O’s:Rear Panel:• Balanced 6.3 analogue in (Left/Right)• Balanced 6.3 analogue out (Left/Right)• USB to PC• MIDI In/Out• AES In/Out• USB device link

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


MAYAH develops technologies aimed squarely at broadcast and high-end audio production users.

small, solid-state machines favoured by radio journalists the world over.

World Leading Audio Technology

Photo: Cameron Whitman, 2010.

11recorders 2013recorders 2013recorders 2013


+ + + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + + M A Y A H C O M M U N I C AT I O N S + + + +

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 sacrifi cing sound quality. This allows it

to be used for musicians to play together for a session, a recording, or a production. The audio will be in both directions, from the studio to the musician and from the musician to the studio in excellent quality and via regular Internet access.

TripleR is not only capable of transmitting live streaming audio, but also MIDI control data between contributors and studio. The transport goes in both directions. Audio is sent from the production site to the musician who will play a MIDI device and use the Impload TripleR to transmit this control data to the studio.

MAYAH Communications GmbH – World Leading Audio Technology

Centauri IV

Centauri IV is MAYAH Communications’ new universal scalable audio codec with up to 64 freely confi gurable audio channels. As a combined breakout box and audio interface, all MADI and AES devices currently on the market can be used.

It is the fourth generation of Centauri audio codecs, the result of fourteen years of development across the codec line that has proved highly successful around the world.

The Centauri IV supports the most relevant industry and EBU standard audio coding formats, from Opus to Linear. It is one of the world’s only unique codec devices designed to support the new open source Opus codec algorithm.

MAYAH Communications is also highly renowned for high-end device features, such as: • Standardised Protocols• Automatic Jitter Buffer• Error Concealment• FEC• Remote ControlThe MAYAH Communications Centauri IV is

the fi rst 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 fulfi lling the high expectations of today’s broadcast industry. C10 is also equipped with the newest codec algorithm Opus, featuring the same high quality

properties as all the other MAYAH devicesThe 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 GmbHAm Söldnermoos 17

D-85399 Hallbergmoos, Germany

t +49 811 5517 0

f 49 811 5517 55

e [email protected]

MAYAH Communications U.S. Offi ceNorth American Business Development

Bellingham, WA

United States

t +1 360 618 1474


Centauri IV is MAYAH Communications’ new universal scalable audio codec with up to 64 freely confi gurable 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

The Centauri IV supports the most relevant industry and EBU standard audio coding formats, from Opus to Linear. It is one of the world’s only unique codec devices designed to support the new open source Opus codec algorithm.

MAYAH Communications is also highly renowned for high-end device features, such as:

The MAYAH Communications Centauri IV is the fi rst of its kind to demonstrate such powerful features in such a compact form at a competitive

Along MAYAH Communications developments, the C10 is designed as an economically low budget audio codec, but still fulfi lling the high expectations of today’s broadcast industry. C10 is also equipped with the newest codec algorithm Opus, featuring the same high quality

properties as all the other MAYAH devicesThe C10 is manageable by a highly intuitive remote

application, and is able to work with various other codec

12To see the complete LS range and full features, please visit www.olympus.co.uk/consumer/ls-series or email [email protected] for details

Uncompromising sound quality and portable recording versatility have been the hallmark of the Olympus LS range since its inception. Now, the new LS-100 has gone further to provide musicians and broadcasters with a state-of-the-art tool enablingconvenience of studio-grade, multi-trackaudio recording just about anywhere.

Furthermore, this impressive mobilerecording 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 bitLinear PCM splendour. Thisextreme audio quality has nowbeen amplified with eight-trackrecording and overdubbingcapabilities to turn sounds andindividual tracks into completecompositions - all within the palm of the hand.

Besides its integrated stereo mics, the LS-100 also features dual XLR/Phone combojacks to facilitate the direct connection with professionalexternal microphones or other musical equipment.

The durable and compact Olympus LS-100 Multi-TrackLinear PCM recorder bestows musicians and broadcastersa high performance, mobile multi-track recording studio tofulfil all their needs - from a single track to a completecomposition - boasting highest possible audio qualities.

The LS-100 joins therecently launched LS-3 and LS-20 tooffer a completerange; The LS-3 is the smallest, slimmest linear PCM LS recorder to fit in your pocketand capture soundsand riffs on the go.

LS-100 MULTI-TRACK LINEAR PCM RECORDER - MAINFEATURES:

Record superior quality sound

Connect to professional audiowith XLR

Built-in sound on sound multi-track sequencer

L/R independent recording

Recording Studios

that fit in your pocketCapture your demos, interviews and gigs in high-quality audio

LS-20M HD SOUND AND HD MOVIEOLYMPUS LS-100 MULTI-TRACK LINEAR

PCM RECORDER: HIGH PERFORMANCE,MOBILE MULTI-TRACK RECORDING LS-11 AUDIO

RECORDER

LS-3 SMALLEST

& SLIMMEST LS

RECORDER

The LS-20 offersthe ability to also

shoot HD movies toaccompany your

HD sound, theadded full HD

movie at 1920 x1080P (30 fps) with

image stabilizerallows you to livelife on a film set

ready for ‘action’.

The LS-11 can record .wav files as high as 96 kHz/24 bit, as well as MP3 and WMA files in a range of bit rates. It comes with 8 GB of internal memory which can be expandedthrough the use of SDcards and includes an infra-red remote control,and Cubase LE software.

LS IS MoreWhat Musicians , journalists andpodcasters have been waiting for

LS-20 MAIN FEATURES:

Record superior to CD quality sound

Shoot incredible full HD movies with magic movie effects

Movie image stabilisationreduces camera shake

PCM (WAV) and MP3recording/playback format

11946 Audio Media DPS_Layout 1 19/10/2012 09:46 Page 1

13To see the complete LS range and full features, please visit www.olympus.co.uk/consumer/ls-series or email [email protected] for details

Uncompromising sound quality and portable recording versatility have been the hallmark of the Olympus LS range since its inception. Now, the new LS-100 has gone further to provide musicians and broadcasters with a state-of-the-art tool enablingconvenience of studio-grade, multi-trackaudio recording just about anywhere.

Furthermore, this impressive mobilerecording 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 bitLinear PCM splendour. Thisextreme audio quality has nowbeen amplified with eight-trackrecording and overdubbingcapabilities to turn sounds andindividual tracks into completecompositions - all within the palm of the hand.

Besides its integrated stereo mics, the LS-100 also features dual XLR/Phone combojacks to facilitate the direct connection with professionalexternal microphones or other musical equipment.

The durable and compact Olympus LS-100 Multi-TrackLinear PCM recorder bestows musicians and broadcastersa high performance, mobile multi-track recording studio tofulfil all their needs - from a single track to a completecomposition - boasting highest possible audio qualities.

The LS-100 joins therecently launched LS-3 and LS-20 tooffer a completerange; The LS-3 is the smallest, slimmest linear PCM LS recorder to fit in your pocketand capture soundsand riffs on the go.

LS-100 MULTI-TRACK LINEAR PCM RECORDER - MAINFEATURES:

Record superior quality sound

Connect to professional audiowith XLR

Built-in sound on sound multi-track sequencer

L/R independent recording

Recording Studios

that fit in your pocketCapture your demos, interviews and gigs in high-quality audio

LS-20M HD SOUND AND HD MOVIEOLYMPUS LS-100 MULTI-TRACK LINEAR

PCM RECORDER: HIGH PERFORMANCE,MOBILE MULTI-TRACK RECORDING LS-11 AUDIO

RECORDER

LS-3 SMALLEST

& SLIMMEST LS

RECORDER

The LS-20 offersthe ability to also

shoot HD movies toaccompany your

HD sound, theadded full HD

movie at 1920 x1080P (30 fps) with

image stabilizerallows you to livelife on a film set

ready for ‘action’.

The LS-11 can record .wav files as high as 96 kHz/24 bit, as well as MP3 and WMA files in a range of bit rates. It comes with 8 GB of internal memory which can be expandedthrough the use of SDcards and includes an infra-red remote control,and Cubase LE software.

LS IS MoreWhat Musicians , journalists andpodcasters have been waiting for

LS-20 MAIN FEATURES:

Record superior to CD quality sound

Shoot incredible full HD movies with magic movie effects

Movie image stabilisationreduces camera shake

PCM (WAV) and MP3recording/playback format

11946 Audio Media DPS_Layout 1 19/10/2012 09:46 Page 1


R-88 Portable Recorder and Mixer:Eight Tracks and Two Channel Recording CapabilityThis 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 fi les assuring outstanding sound quality – with selectable bit depths (16-bit or 24-bit), and sampling frequencies (44.1kHz/48kHz/88.2kHz/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 fi lter is included to help prevent things like wind noise or mic handling noise, both greatly improving the audio quality.

SDHC/SD Card RecorderThe 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 fi les, or using the dedicated driver 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 CapabilityThe 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 TimecodeThe 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 workfl ow. Further workfl ow aids are included such as Slate facility from onboard mic for memo recording or Slate tone (1kHz/-20dBFS), and a jack input, 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 workfl ow across multiple locations.

For Film, Surround, and Concert Recording ApplicationsFor fi lm 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 Solutions From 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, fl exible products that can be used in standalone or system confi gurations 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 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 A N D S Y S T E M S G R O U P + + + +

1514 PROMOTIONAL FEATURE THE INTERNATIONAL RECORDERS BUYER’S GUIDE 15

Professional Recording Solutions From Roland Systems Group

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 benefi ts 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 fl exibility 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 fi les for mixing together later. To reduce interference between inputs to achieve clear, high quality sound, the R-26 is equipped with Roland’s proprietary IARC on both the inputs for the built in mics and the external inputs.

The two analogue combo (XLR/TRS) jacks have 48V phantom power, as well as a side mounted plug-in mic (stereo mini) input with support for plug in power. The R-26 supports 24-bit/96 kHz linear PCM recording and also simultaneous recording in WAV/BWF and MP3 formats, whilst a pre-recording function actually begins your recording two seconds before you initiate it – a great feature for capturing environmental sounds. The mic pre-amp is fi tted with a limiter and low cut fi lter, which when activated reduces distortion with selectable cut off frequencies of 100, 200, or 400 Hz.

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 benefi ts such as on-board editing, a touch panel

The dual stereo mics (omni-directional and directional) operate independently of each other to give greater fl exibility 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 fi les for mixing together later. To reduce interference between inputs to achieve clear, high quality sound, the R-26 is equipped with Roland’s proprietary IARC on both the inputs for the built in mics and the external inputs.

The two analogue combo (XLR/TRS) jacks have 48V phantom power, as well as a side mounted plug-in mic (stereo mini) input with support for plug in power. The R-26 supports 24-bit/96 kHz linear PCM recording and also simultaneous recording in WAV/BWF

Company Headquarters:

Roland Corporation2-7 Kandasuda-cho, Chiyoda-ku,

Tokyo 101-0041, JAPAN

w www.roland.com

UK:

Roland Systems GroupMetropolis Studios, The Power House,

70 Chiswick High Road, London W4 1SY

Tel: +44 (0) 1792 702701

w www.rolandsystemsgroup.co.uk

e [email protected]

US:

Roland Systems Group801 West Orchard Drive,

Suite 3 Bellingham, WA98225

t +1 (360) 5944282

w www.rolandsystemsgroup.com

e [email protected]

recorders 2013recorders 2013recorders 2013+ + + + + + 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 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 A N D S Y S T E M S G R O U P + + + +


Sound Devices’ digital recorders are designed specifi cally for documentary and feature fi lm/video production, sound effects gathering, and live multi-channel music recording. The 7-Series recorders include high-performance, high-resolution analogue microphone preamplifi ers. 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 fi les 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 fi lm 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 fi t 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 fi t in an accessory pouch.

The 7-Series records Broadcast WAV fi les (with iXML Metadata) to CompactFlash cards on all recorders and to internal hard drives on the

drive-equipped 722, 744T, and 788T (160GB). Audio fi les 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 fl exibility of the recorder and gives the next level of audio I/O and control.

Two-Track Recorders – 702, 702T, 722Sound Devices’ two-track recorders are powerful fi le-based digital audio recorders. Sound Devices 702 is a two-

track fi le-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 fi lm 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 fi eld recording simple and fast. They record and play uncompressed PCM audio at 16 or 24 bits with sampling rates between 32kHz and 192kHz. Compressed MP3 audio and data-compressed FLAC recording and playback are also supported.

Removable, rechargeable batteries are a standard Sony-compatible Li-ion camcorder cell. The CompactFlash card appears as a removable storage device when connected via the FireWire port to Windows or Mac OS computers.

Four-Track Recorder – 744TSound Devices’ 744T is a powerful four-track fi le-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-Series Digital Audio Recorders

Sound Devices’ 7-Series line is the next generation of digital audio recorders. The two, four, or eight track 7-Series recorders shatter the size, performance, and feature-set paradigms of all previous generations of audio recorders.


Sound Devices’ digital recorders are designed specifi cally for documentary and feature fi lm/

7-Series recorders are controlled by a fast and intuitive user interface, with easy to access

Digital Audio RecordersSound Devices’ 7-Series line is the next generation of digital audio recorders. The two, four, or eight track 7-Series recorders shatter the size, performance, and feature-set paradigms of all previous generations of audio recorders.CL-8 Controller with Sound Devices 788T Digital Recorder.

+ + + + + + 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 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 E V I C E S + + + + S O U N D D E V I C E S + + + +


Eight-Track Recorder – 788TIntended for on-location, multi-track productions, the eight-input, 12-track 788T features a signifi cant expansion of input and output capability – eight full-featured microphone inputs and 12 tracks of recording. The eight inputs, together with a fl exible digital architecture, provide unprecedented recording fl exibility. 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 fi les. 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 744T’s time code recorders, the 788T has a high-performance, full-featured time code generator. It is also equipped with selectable word clock sync source, including numerous video sync sources. The 788T is powered by 7.2 V Li-ion batteries or external DC (10-18 V) and offers an on-board Li-ion battery charger.

The CL-8 Controller for the 788T Digital Recorder is a portable mixing control surface companion for its 788T recorder, which provides additional capabilities to the 788T without a signifi cant increase in weight, making it

adaptable to a variety of fi eld 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 fi lter, limiter, polarity, and mute. When used with the CL-8, the original 788T input controls function as input trims, and the CL-8 controls offer fader control.

With the CL-8 users now have access to four additional recording tracks (eight ISO tracks, L/R master, and Aux 1 and Aux 2) through the CL-8’s associated fi rmware, 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 fi lters 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.

recorders 2013recorders 2013recorders 2013+ + + + + + 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 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 E V I C E S + + + + S O U N D D E V I C E S + + + +


Meet LEA: Perfect Levels, Every TimeWhen we designed the iXm, we set out to make the fi nest 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 DisplayOne of the things you’ll notice about the iXm is that we’ve made it extremely easy to use. Since a major part of our design goal was accomplished with LEA, we could eliminate the display and design a dashboard of three light-up icons. Because you don’t need to constantly monitor levels, you only need three intuitive indicators: Recording Status, Battery Status, and Memory Status. And our dashboard is where you expect it, well-positioned and always visible. There is no better way, day or night, to keep your recordings under control. Freed from monitoring, you can concentrate on your interview for a better, more personal recording.

Under Your Thumb: Silent ButtonsAn 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 fi eld operation. They are large, so you can be confi dent during recording. And they are dust and waterproof to cope with any environmental hazard. The result was worth it: Record and Stop buttons exactly where you expect them, working just as you require. The iXm truly puts control under your thumb!

Always Just In TimeWith an adjustable “pre-roll” recording buffer, you’ll 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 triggered your recording “after” the interview started!

Unbeatable Stamina With OptionsOur 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 developed inside the most familiar of audio devices – the microphone. With switchable, professional microphone heads by Beyerdynamic and an intuitive SD recorder, the iXm allows you to capture your best interview ever with perfect audio levels at the push of a button. It’s never been easier to record pristine, broadcast-ready audio on location.

iXm: Capture Pristine Audio in any Location. Designed and engineered to create perfect location recordings, the iXm is a revolutionary product developed inside the most familiar of audio devices – the microphone. With switchable, professional microphone heads by Beyerdynamic

Audio in any Location.

+ + + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + +


Our Cooler Heads PrevailOur Twist-Off-Twist-On (TOTO) exchangeable mic heads give you the options you need to perfectly match your recording environment. Whether you require a cardioid, super-cardioid, or an omnidirectional pick-up pattern, you can easily change it right on the spot. Our TOTO auto sensing detects which type of mic head you’re using and automatically adapts the DSP to the right parameters. No need for any manual settings!

Playback In The FieldListen to your recordings during a fi eld check using the built-in headphone output. Use the playback keys to jump from track to track. When you do, you will experience another great design element of the iXm: human voice announcements guide you through your each recording. No need to follow track indicators. Could you imagine anything easier?

Port Panel: You’re Free to GoThe port panel on the bottom of the iXm holds all the interfaces. You will fi nd a USB 2.0 port for downloading your recordings and recharging the internal battery. Use this port to confi gure your iXm for your individual preferences. The SD card slot is well protected against accidental ejection. An integrated headphone output makes your fi eld check easy. We’ve also included a 3.5mm jack for recording line levels, a valuable feature if you want to use iXm to record a supplied mic feed during press conferences. We’ve even included a connector for use with an optional speed charger.

Storage and Memory:SD or SDHCFinally, 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 JacketThe iXm’s body is constructed of solid aluminum and coated with a smooth, touch-friendly and wear-resistant fi nish. 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-fi rst features, and robust design, the iXm is ideal in the most demanding environments you can imagine.

CONTACT DETAILS

YellowtecHeinrich-Hertz-Str. 1-3

D-40789 Monheim am Rhein

Germany

t +49 2173 9673 0

e [email protected]

UK Distributor:

HHB Communications Ltd. t +44 (0) 208 962 5000

e [email protected]

US Distributors:

Broadcasters General Storet +1 352 622 7700

w www.bgs.cc

SCMS Inc.t +1 800 438 6040

w www.scmsinc.com

recorders 2013recorders 2013recorders 2013+ + + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + +


Zaxcom, Inc. designs and manufactures innovative professional audio equipment for the television and fi lm industries. The US company is a pioneer in audio technologiesfor sound mixing and ENG professionals. It engineered the fi rst digital wireless microphone and the fi rst wireless microphone to feature integrated audio recording.

The fi rm 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 effi cient workfl ow. He went on to build the fi rst TBC System (Time Base Control System) used for video editing. The TBC System became an industry staple and won the Emmy for outstanding achievement in Engineering Development in 1989-90.

The company then took a different course and began making gear for the professional audio industry. In 1992, Zaxcom introduced its fi rst 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 specifi cally for high defi nition edit suites and live applications.

In 1996, Zaxcom began work in the fi eld they are experts in today: location audio. Glenn Sanders, President, and Howard Stark, Chief Engineer, designed, developed, and manufactured the Deva, the fi rst four-channel portable hard disk recorder. Deva has since changed the way professional location recording is done and is used across the fi lm 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 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 X C O M + + + +

The Nomad Range

Zaxcom’s Nomad is a complete location sound recording system for video productions. It provides all the functionality necessary to mix and record in a power effi cient 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 fi le system are some of the unique features that add to the value of Nomad 12. A combination of compact size, light weight, low power consumption, and integrated features make Nomad 12 the perfect choice for any sound bag or cart.

All mixing and monitoring functions are directly accessible from the control panel. Nomad 12 offers the right combination of track count, DSP effects, analogue inputs, mix busses, and digital mixing at an unmatched price point.

The Nomad 12 mixer can send three independent stereo mixes

to fi ve cameras. It will record 12 tracks from its internal mix busses. All 10 analogue inputs are instantly available for control via the six rotary faders and the menu encoder. This eliminates the need for external add on fader hardware keeping Nomad 12 as small and light as possible. All of the mixing functions can be stored in memory for instant access or stored to an external memory card.

There are a number of other models within the range to match both budget and technical requirements of the end users. The Nomad 10, for example, offers an impressive ten recording tracks and 16 mix busses (to the 12’s twelve and eighteen respectively). And the entry-level machine, the Nomad Lite, still packs an impressive punch, offering recording at 96kHz, six hardware faders, and digital mixing.

Zaxcom Inc. is a ground breaking creator of professional audio equipment for fi lm and television production.


2001 brought the Zaxcom Digital Wireless to the market. It was the fi rst 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 Scientifi c 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 company’s growing staff and production line, which was expanding to meet demand for Zaxcom’s products.

In 2004, the next generation of Deva was released – the Deva IV and Deva V. They boast an intuitive colour touch screen, an optional internal DVD-RAM drive, and can record up to 10 tracks of audio. Stereo ENG wireless was also released. For the fi rst 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 company’s 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 man’s desire to do things better in video editing to become a respected and admired staple of the fi lm and broadcast sound industry.

Zaxcom, Inc.230 West Parkway, Unit 9

Pompton Plains, NJ 07444

USA

t +1 973 835 5000

f +1 973 835 6633

w www.zaxcom.com

recorders 2013recorders 2013recorders 2013+ + + + + + 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 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 X C O M + + + +

The Zaxcom Maxx is a powerful new tool for fi lm sound recordists: it’s 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 Nomad’s 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 Maxx’s 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

recorders 2012recorders 2012


analogue mic/line inputs with 48-V phantom power, four analogue line inputs, and eight digital inputs. A 16-channel, 24-bus digital mixer is built into the unit, providing EQ, notch fi lter, compressor, and delay functions on each channel.

Fusion Zaxcom’s Fusion provides a revolutionary approach to on-location, multi-track sound mixing and recording. As a completely portable, solid-state solution, Fusion blends the performance characteristics of hard-disk recorders with the mobility of sound bag systems. The result is a best-of-both-worlds product ideally suited for over-the-shoulder recording and mixing for reality television, electronic newsgathering (ENG), and other mobile video productions.

Fusion provides reliable performance by eliminating hard-disk recording and other moving parts. This, paired with minimal power consumption, ensures that Fusion gives off almost no heat, for fl awless operation in even the most demanding settings. Fusion’s solid-state recording also means the system is far more tolerant to motion and high G force.

Fusion’s world-class microphone pre-amps ensure robust sound, low noise, and low distortion. Fusion records to two CompactFlash cards simultaneously, providing full redundancy and fl exibility in the case of a media failure. The system can even copy fi les to the backup memory card at the same time as it records new material to the primary card. All fi les are

recorded in Zaxcom’s proven MARF fi le system, which safeguards audio recordings even in the event of power loss.

With an intuitive touch screen interface, Fusion allows users to enter metadata directly, keeping the system light and portable. Fusion supports infi nite mixing of any input to any recorded track or output – pre-fader, post-fader, or phase inverted. This feature, along with eight output mix busses, allows the system to support newer cameras that feature four or more recording channels.

Fusion Features: • Operation at up to 192kHz, which is necessary

for sound effects recording • A 16 input mixer with 16 output busses • The capacity to mix all 16 analogue and

digital inputs at the same time• Output soft knee compressors and output

buss on every recorded track (with the effects package)

• Eight XLR inputs, a key feature that allows user to quickly move an input from one channel to another.

• Camera return and camera monitor facilities, including two return inputs that are monitored in mono mode.

• Software-confi gurable metering of the camera send, ensuring it will never be obsolete.

ZFR100 Zaxcom’s ZFR100 is a miniature timecode-referenced audio recorder. The ZFR100 can be used in a sound bag, worn on the body as a belt pack, or applied to any other application that requires a timecode-referenced audio recording. The ZFR100 can record up to 12

hours of audio directly to a removable 2GB MiniSD Flash media card. With Zaxcom’s trademark fault-tolerant recording, no audio is lost even in the case of an ejected memory card or accidental power-down.

The ZFR100’s full-featured timecode reader/generator ensures perfect synchronisation with recorded audio, with an accuracy of one frame every 12 hours (.7716 PPM). The recorder can generate broadcast .WAV fi les or MP3 fi les at 48kHz/24-bits. Ultra-compact for use in virtually any application, the ZFR100 weighs about four ounces, and can be powered for up to 24 hours on just two AA batteries or indefi nitely via an optional 8- to 16-V DC power input. The ZFR100 uses a single mic-level unbalanced input for use with lavalier microphones.

Innovative, Superior-Quality Professional Audio Recording


+ + + + + + 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 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 X C O M + + + + Z A X C O M + + + +

CONTACT DETAILS

Zaxcom230 West Parkway, Unit 9 Pompton Plains,

NJ 07444, USA

t +1 973 835 5000

w www.zaxcom.com

e [email protected]

Company History

Glenn Sanders, President of Zaxcom, fi rst launched the company in 1986 to introduce a workfl ow-control system for video editing. The TBC (time base control) system quickly became an industry staple and received an Emmy Award for outstanding achievement in engineering development in 1989.

In 1992, the company fi rst addressed the professional audio market and has since introduced a number of systems designed to help audio professionals keep pace with developments in digital and HD broadcasting.

Sanders and Zaxcom Chief Engineer Howard Stark embraced on-location audio in 1996 with the introduction of the Deva four-channel portable hard disk recorder. This unique product received the Scientifi c and Engineering Award at the 75th Annual Academy Awards in 2003, and was recognised with a Primetime Emmy Engineering Award in 2008. Frequently a pioneer in the audio industry, Zaxcom engineered the fi rst digital wireless microphone and the fi rst wireless microphone to feature integrated audio recording (patent pending).

Fusion – 10 track solid state audio recorder.

STA042 AES Adaptor

All Digital Sound Bag to Camera

Zaxcom recently introduced a new addition to its professional audio equipment family, the STA042 digital stereo adaptor. The STA042 allows ENG audio professionals to transform an existing single-channel Zaxcom TRX900/TRX900AA wireless transmitter into a digital two-channel transmitter sound bag-to-camera link. Pairing a TRX900AA and QRX100 with the STA042 forms a one hundred percent digital audio transmission system.

2222 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. Aaton’s fi rst 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 fi eld recorders.www.fostex.com

IZ TECHNOLOGY CORP.

iZ Technology was originally formed as a fl edgling 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 company’s high-resolution audio recorder. It offers 96 tracks of 96kHz audio at 24-bit, with nine hours of internal storage.www.klarkteknik.com

KORG CORPORATION

Korg Corporation is a Japanese manufacturer of audio tools. Founded in 1962 as Keio Electronic Laboratories, the company originally produced rhythm machines before its fi rst major success with a series of programmable organs and synthesisers. It went on to become one of the world’s premier manufacturers in synth, sampling, and electronic music products.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 offi ces 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 fi rst audio codec, and since then has expanded its range to include the most recent new fi rmware generation 4.0 for C11, SPORTY, and FLASHMAN II with extended featureswww.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 fi lm.

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 signifi cant 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

2322 RECORDER MANUFACTURERS DIRECTORY THE INTERNATIONAL RECORDERS BUYER’S 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 fi rst 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 workstation for 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 fi eld-production audio products. Sound Devices’ growing family of audio mixers, digital recorders, pre-amps, and computer interfaces are now used by production professionals worldwide.The company produces digital recorders such as the 744T and 788T, for documentary and feature fi lm production, sound effects gathering, and live music multi-channel recordings.www.sounddevices.com

TASCAM/TEAC

PROFESSIONAL

TASCAM is one of four divisions of TEAC Corporation, a $1.2 billion manufacturing company headquartered in Japan. During TASCAM’s formative years in the early 1970s, the music scene was fl ourishing, but musicians were restricted by the expense of professional recording. It was the company’s goal to manufacture affordable recording equipment that offered the quality of professional studio equipment.Recent recording products include the award winning DV-RA1000HD; and the DR-1 and GT-R1 portable recorders, plus new launches at NAMM 2009.www.tascam.com

VB AUDIO

VB Audio has been producing audio tools for the industry since 1999. It produces the M128 software-based recorder, designed from the ground-up to be robust, fl exible, and top-quality.www.vb-audio.com

YAMAHA

Over the past 100 years, Yamaha has grown from the manufacturer of Japanese reed organs to a multi-national corporation with a huge range of products. Audio products from this company include the AW1600 and AW2400 digital audio workstations. The AW2400 is the fl agship of the AW line with 24 simultaneous tracks of playback, and motorised 100mm faders. New from Yamaha is the Pocketrak 2G, a handheld digital recorder with internal stereo microphone.www.yamaha.com

YELLOWTEC

Yellowtec is a brand of the German-based Thum + Mahr GmbH, one of Europe’s leading system integrators for broadcast faciities. Yellowtec’s slogan is ‘simple and smart’, with the defi ning principle of keeping its products simple to use. All of its products, including the iXm recording microphone, refl ect this design notion.www.yellowtec.com

YOU/COM

You/Com started out as a trading company, supplying data-and telecoms solutions to the corporate industry. Today, the company is also a manufacturer of hi-fi audio-communication equipment.The ReporterMate is a PCMCIA Flash-card recorder with FTP audio transfer and non-destructive editing. It also features a mixer with gain, compression, limiter, and a voice-over mixing function.www.youcom.nl

ZAXCOM

Zaxcom was founded in 1986 by Glenn Sanders, a post-production professional who saw a need for equipment to create a more effi cient workfl ow. Zaxcom designs and manufactures professional audio equipment such as Deva hard disk recorders, for the television and fi lm industries. It claims the fi rst digital wireless microphone and the fi rst wireless microphone to feature integrated audio recording.www.zaxcom.com

ZOOM

Zoom is a Japanese audio company that produces equipment for both the consumer and professional markets. Its product inventory includes effects pedals for guitars and basses, location recorders, drum machines, and microchip processors. Recent recording products from Zoom include the H2 and the H4 Handy Recorder; a handheld digital audio recorder, featuring built-in condenser microphones in an X-Y stereo pattern.www.zoom.co.jp

recorders 2013recorders 2013recorders 2013Recorder Manufacturers Directory

2416ch mULTITRACK recorder + USB / FireWire interface

ALLEN&HEATHallen_heathwww.allen-heath.com allenheathofficial

CAPTUREDPERFORMANCE

ICE-16 makes multitrack recording easy. Forget all that fiddling around at the back of clunky HD recorders or messing about with soundcard drivers. ICE-16 lets you capture a high quality 16 track digital recording straight to a USB drive.

ICE-16ICE-16 is also a powerful 16x16 audio interface capable of studio quality recording over high-speed USB or FireWire, so you can record and play back multichannel audio with or without your computer.

Whether it’s a live band, a studio session, a conference or a rehearsal, ICE-16 captures the performance.

16 analogue inputs (1/4” TRS jacks)

16 analogue outputs (RCA connectors)

Front USB socket for quick capturing to USB mass storage devices

Hybrid FireWire (IEEE1394) / USB2.0 16x16 audio interface

Industry standard, broadcast WAV file format

Up to 6 hours of 16 channel audio on a 32GB USB stick

Signal present and peak LED metering on each channelSignal present and peak LED metering on each channel

Record direct to USB drive digital multitrack from AN analogue desk 16 x16 interface

Audio media recorders guide 2013

Technology

audio quality

audio journalist

professional audio production

audio media projects

audio recorder world

live multichannel audio

o t i o n

e d i t i o n