One of the most common questions beginning sound effects recordists ask is which equipment to buy for field recording. What is the best digital audio recorder? In this article I’ll review the options for buying digital field recorders.
To begin field recording you’ll need a recorder, headphones, a microphone and cabling. Optionally you may add a separate preamp. And let’s not forget your most important equipment: your ears.
Today we’ll discuss how to choose a recorder, and what features to look for.
Background
The digital audio recorder market exploded around 2006. Recorders were once made only by large companies such as Fostex, Nagra, Tascam or HHB. Now we’re now seeing smaller companies produce cheap versions of recorders. Many of them are marketed to musicians. In this article we’ll look at choosing digital recorders for sound effects field recording.
There are dozens of recorders available. Some may be obsolete six months from now. So, instead of providing a detailed list of the best recorders today, I’ll post a checklist of features to look for when buying a digital audio recorder.
Broad concerns
- budget – digital audio recorders appear to be classified in three categories: below $500, $500-$1000, and $1000 plus
- purpose – consider how you’re planning to use the recorder. Think about your needs. This could include:
- are you planning on field recording?
- will you travel extensively?
- will you record mostly foley in a studio?
- are you working with a variety of microphones (condensor, dynamic, etc)?
Bear these things in mind when considering the checklist below.
Basic features
- preamp – pretty much more important than anything else if you are using condenser microphones. If the preamp isn’t good even the Cadillac of microphones will be affected. Test the quality of the preamp with condenser microphones at low, medium and high levels and listen to the noise floor. Is the noise floor high even at low levels? How thick or present is the noise?
- recording format – which file format can the recorder capture? Typical options are WAV and MP3.
Additional considerations are bit depth and sampling rate. Is CD-quality (44.1 kHz 16-bit) sufficient, or do you require high-resolution 96 kHz, 24-bit audio, or even 192 kHz? Although CD-quality sounds fine, 24-bit recordings produce a notable difference. Usually 96 kHz and above is only important if you expect to be processing the file (time twisting, pitching the file multiple octaves, etc) - portability – are you planning to take your recorder into the field? Will you be recording solely in a studio?
- construction – is the recorder built with cheap plastic? Will the buttons wear out in six months? How durable is the recorder?
Advanced features
- multi-track – some recorders can capture 4 tracks. More expensive recorders, such as the Deva series or the Sound Devices 788T can capture 8 or more tracks.
If the recorder has multi-track capabilities, check at which sample rate multi-track recording is available. For instance, a recorder may be capable of recording at 96 kHz 24-bit stereo, but only capable of 44.1 kHz 16-bit at four tracks - external inputs/outputs – high-end recorders will offer multiple inputs. XLR inputs are the best. Less expensive recorders offer mini connectors, which may not be grounded and could pick up electromagnetic interference, such as radio waves or hum
- design – size, weight and construction are important considerations if you plan to be mobile. ‘Run and gun’ field recordists will need something light and durable. This is less of an issue if the recorder is staying safe in the studio, where a less sturdy counter top recorder will do
- interface/controls – is it easy to change the recording levels? Is it easy to record, review and play the sound? Touch screen recorders, like the Deva series, are interesting, but if you’re guerrilla recording, tactile cues are essential. Each function should have a separate button with a distinct shape. The record button in particular should be different than any other
- media – recorders use flash cards, hard drives, exterior DVD-RAM drives or a combination. Removable media is nice to have if you expect to be away from a workstation and may need to swap out your media for additional storage
- manufacturer – a fly-by-night company may abandon the recorder in a few years when a new model is released
- firmware updates – are you able to update the firmware after purchase? Some manufacturers update the firmware software over time, which can fix bugs and offer additional features
- warranty – a good company will allow you to register the recorder via mail or the Internet allowing for a window of tech support or repair. This also indicates a company’s faith in the quality of their recorder
- connectivity – can the recorder connect directly to a computer? Does it use USB, Firewire or a proprietary connection? How fast will data transfer over this connection?
- time code – some recorders also imprint every sound recording with time code. Typically this is designed for production location recordists (i.e. on set) so that the recordings will be in sync with the camera.
Time code can be very useful when multiple recorders are far from each other, and marking a recording with a vocal slate is impossible.
For example, imagine recording a car with three recorders: one inside the car, one on the side of the road and a third in the distance. When it is time to master the sounds, identical time code on all the recorders will help you line up the recordings in a session easily.
Fancy bonus features
- menu design – can you delete or mark recordings quickly? Find settings easily? Change options quickly when in a challenging situation?
- start up – lower-end recorders take longer to start up. Not absolutely essential, but when you miss your first rare effect because your recorder takes 20 seconds to boot, you’ll wish you had a faster start up time
- pre-roll – often an unplanned take or recording can spring up on you. Pre-roll is handy to have in these situations. It is usually limited by sample rate – the higher sample rate you record at, the less pre-roll time is available
- digital interface – some recorders double as a digital interface or breakout box. This allows you to capture audio through the recorder directly into a supported sound editing application on your computer
Extra Considerations
- usability – considering what the recorder was created for, how well does it function in this role? Usability also considers features like: intuitiveness, training required, balancing the role of the user and the recorder. Does a portable recorder work well as a device meant to be carried around, or does its design relegate it to desktop use? Good usability will depend on how well the recorder functions in this role, as well as how easily a recorder lets the recordist actually record instead of operating the device
My Selections, Early 2011
- Under $500 – Samson Zoom H4n
- pros: price, fair onboard mics, solid construction
- cons: poor in windy environments
- listen to an example of a specific sound effect recorded with this recorder
- listen to an example of a ambient sound effect recorded with this recorder
- $500 – $1000 – Fostex FR-2
- pros: good preamp, solid toggle switches
- cons: flimsy construction, convoluted interface
- listen to an example of a specific sound effect recorded with this recorder
- listen to an example of a ambient sound effect recorded with this recorder
- $1000+ – Sound Devices 7xx family
- pros: bullet-proof construction, excellent company support, flexible
- cons: you need to pack a lunch to find your way through the menus
- listen to an example of a specific sound effect recorded with this recorder
- listen to an example of a ambient sound effect recorded with this recorder
- Bonus: $10,000+ – Zaxcom Deva 5.8
- pros: built like a tank, outstanding preamps, 10-channel
- cons: built like a tank, relies on touch screen for some functions
Do you have a favorite recorder? Any important features I’ve missed? Share in the comments below.
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Personally, in the “Bonus” section I’d suggest the Zaxcom Fusion 10 over the Deva 5.8. There’s no internal hard drive, so that cuts down on weight and power requirements. Downside being you’re relying on Compact Flash cards for storage (if you consider that a downside). Honestly though, that’s the best method to get audio off of the Deva 5.8. So, I don’t see that as a huge issue.
Hi Shaun, great points. One of the biggest issues I had with the 5.8 was the weight. I also found that transferring the data off the 5.8 via direct connection seemed to take longer than it should have – though I didn’t try Compact Flash. So I agree, compact flash sounds like a great “no-loss” solution… I’ll have to rent the Fusion 10 and give it a spin.
Yeah, that firewire mirroring offload takes forever, and don’t even get me started on waiting for the drive to mount. Completely baffling considering how easy it is with the 744T. The compact flash transfer from the 5.8 is much faster than to an external drive. I’ve been wanting to try out a Fusion 10/12 myself. Simultaneous record to two compact flash cards seems like a much better solution.
Hi Paul! Another cool post! For me the most important part of a good recorder are its preamps. They have to be quiet and need to have at least two if you want to do at least stereo field recordings. The next most important thing are the microphones used!
I’ve personally owned a Sound Devices 744T for about a year now and love it to bits!
Hey Enos! I completely agree. I use Sound Devices myself (as well as the MixPre) – great control interface. The durability is a major benefit in less-controled field recording situations. I hauled a 722 through 20 cities in Europe over 90 intensive days and it held up perfectly.
Hi Paul,
I’d love to see runers up on your selections. thx!
HI Rene. Hmmm. That’s a great idea. Let me put some thought into that. I’ll likely write another post about this… perhaps elaborating on my favourites and some others like you suggest.
Great post and definitely a great hetp for new comers. My aim is to sell a heap of unwanted/needed stuff I have and save for an SD702. I have a H4n, Rode NT4 and blimp system with a MixPre on the way. Hearing examples from the SD with an NT4 just makes me need an SD. Doesn’t look like you can go wrong with one of those.
Under the Advanced Features up there perhaps add “Time Code”? I know that it’s not a needed feature but certainly makes things a lot easier if used with video work. Probably a whole nother topic but there are so many areas for recorders to be used.
Thanks, glad you enjoyed the post.
I haven’t used the 702 personally but friends say it is excellent. I have a Sound Devices 722 and seeing as it is essentially a 702 without the hard drive I can highly recommend it. I do like the NT4 and with the MixPre you’ll have a great set up.
Time code is an excellent idea, thanks! It is certainly worth a mention and I will add that to the post in the next few days.
I wonder why the pre-amps on the deva are “ourstanding” while those on the SD are not. I have used both and would say the SD pre-amps are are at least par with the deva’s if not better.
even the FR-2 on your list is mentioned with “good pre-amps”. I think the SD series has some of the quietest mic pres available on a portable device.
You’re right, Hans, the quality of Sound Devices’ preamps is well known. I use Sound Devices myself.
I personally find the Deva preamps cleaner, but the Sound Devices pres are very good, it is true.
As for the Fostex, the preamp stands out to me primarily for the quality at its price point, which is less than a 722. Not necessarily better than a 722, but, in my opinion good for its class, which is why I noted that specially by price.
Hey Paul, great article!! I’m also a fan Sound Devices preamps. I’ve been thinking about getting a NT4 to combine it with my SD 302 mainly for stereo atmos recordings. Do you think this mic will do a god job for this application, or should I be looking at a different mic? Thanks for the advice.
Thanks Andres, glad you enjoyed the article.
I would definitely recommend the NT4. For the price, I found that the NT4 captures a surprising amount of depth and breadth and soundstage. The 302 I also think is a great unit and I think they will work well together.
Good luck and let us know how it turns out for you.
Paul thanks for the advice, it is very helpful as I won’t have the chance to test the mic myself before buying (ordering abroad). Will let you know how it goes. All the best.