Results matching “recorder” from Photoethnography.com Blog

In my rush to pack for Japan, I forgot to bring my usual digital audio recorder. I decided to pick up a new one in Japan since there were several options that weren't available yet in the United States.

I decided to not go with my previous Roland- Edirol or Samson-Zoom choices. Those companies make great digital recorders designed mainly for studio recording, but I don't need XLR jacks this time around since I'm not shooting any video. My main frustrations  with the R-09 and Zoom H4 as field recorders were their comparatively large size and the short battery life, surely there must be better options now.

Oh, I should note everything I'm mentioning is only available in Japan. I'm not sure when or if they will ever make it to the states.

 

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Olympus: I first looked at the Olympus Voice Trek data recorder series. These are highly rated by journalists and fieldworkers alike. Many of my graduate students use their sub-$100 series. On the higher end,  I liked the DS-750, it had almost everything I wanted including the ability to recharge its NiMH AAA batteries itself, when plugged into USB.  4GB internal memory, linear PCM 48 kHz / 16 bit recording. The price, Y17,000 or around US$200.

Unfortunately, I'm the type of geekette that always has to have best of class. In the Olympus lineup, that meant the new LS-11 which just came out.  Much better mics than the DS-750, 96 kHz / 24 bit,  more internal memory (8GB) and a wireless remote control. Drool.  Street price, Y36000 or US$400. Gulp.  And while the two AAs would power it for an amazing 22.5 hours, there was no internal recharging capability like the lesser DS-750. Well, harumph.

 

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Sanyo, which is not known for its audio recorders in the USA, had some very nice models. I wish they sold them in the USA because I think they would be a huge hit among field recorders.  I ended up settling on the newest, latest, biggest, baddest model: the Sanyo Xacti ICR-PS605RM (egad, what a mouthful).

The PS605RM has 6 ... count 'em ... 6 mics.  Four mics in a W-XY configuration and two that are omnidirectional. This allows for a wide variety of recording modes. When recording with the 4 W-XY mics, the frequency range is 40 Hz to an amazing 47,000 Hz -- digitizing at a 96 kHz sampling rate at 16 or 24 bits. Although no one except your dog might be able to hear pure tones above 25 kHz, there is some small evidence that even ordinary people can "sense" such ultrasonic overtones in musical instruments. Total overkill, the way I like it.

Although it doesn't look like it, the PS605RM is actually smaller than the Olympus models and is powered by a single rechargeable AAA battery (enclosed), which keeps it chugging for 26 hours in MP3 mode (15 in linear PCM). Incredible.

No fancy wireless remote, but there is a nice binaural mic option which I'm going to try.

Also, the Xacti can recharge directly from the computer with a slide-out full-size USB A plug. So no cables needed for downloading files or for recharging. The only thing I forget more often than batteries is the darn USB cable, so this is great.  It can also take a 16 GB micro SDHC card if the internal 4GB isn't enough.

It comes in a nice bundle with a windscreen and tripod/clip adapter.

We'll see how it functions in some field tests this summer. I especially want to plan with the binaural mics, since I want to make some recordings that show Tokyo as a blind person would hear it.

The cost was just over Y30,000 or around US$350. A tad expensive. The next lower model was a full Y10,000 cheaper. But it didn't have the Klingon shaver look....

 

p.s. The binaural mic is the Sanyo HM-250 -- around $75 but unfortunately only available... yes... you guessed it... in Japan.

p.p.s. And I haven't forgetten iPhones, more after the jump.

One of the students in my visual anthro class asked about how to capture an iChat video conversation (both sides). She wanted to tape a conversation with one of her informants. A little googling revealed a neat little application called Conference Recorder:

http://www.macworld.com/article/50727/2006/05/conferencerecorder.html

There are also some neat tips in the article, including the use of SnapZ or Garage Band to record iChat (and perhaps Skype) conversations.

As always, let the other person know that you are recording the conversation -- for ethical and legal reasons.

Looks like Edirol came out with a hardware update to the R-09 when I wasn't looking: http://www.edirol.net/products/en/R-09HR/

What's new, I can't really tell but it looks like it has better internal mics, a wireless remote (no more keypress fumbling sounds), 96 khz resolution on the top end, and a preview speaker.

Oh, here's a comparison of the two on Roland's page: http://www.roland.com/faq/en/R-09HR/R-09HR_Comparison.htm

Battery life appears to be the same which is a letdown. Surely they could've fixed that! All in all, important fixes for someone looking to buy a new flash recorder but not enough to entice be to replace my current one.

Roland has released a minor firmware update for its Edirol R-09 digital audio recorder: http://www.rolandus.com/ (click on "Downloads)

The new features are:

• Repair Files (fixes corrupted files)
  
• Max recording size (allows you to limit the max file size of a recording)
  
• Peak hold (peak audio level is held for a short while to make it easier to detect peak audio levels)
  
• Rec/Peak LED energy saving (turn off these LEDs to save batteries)
  

See my other notes on the Edirol.

Samson now has a detailed page for their new Zoom H2 flash recorder: http://www.samsontech.com

It truly looks like a winner all around: SD card slot (4 gigabyte compatible), 3 capsule mics, date/time stamp function, works as a USB mic when connected to your computer, easy to use, small, light, cheap.

It even records 5.1 surround sound in 4 channels in real time! Perfect for recording wild sound. I can't wait to get my hands on one for this summer.

Following on the heels of the Zoom H4 (which apart from not having a time/date stamp would be perfect for me), Samson has announced the Zoom H2 at NAMM 2007. Now this looks perfect except for the lack of XLR inputs! But it does have a time/date stamp. The specs are from the Zoom website:

• One point stereo microphone design
• Realize Mid/Side (MS) Stereo technique by using 3 mic capsules configuration and digital signal processing
• Switchable pickup angle between left and right channel, choose 90° for single voice or instrument, or 120° for many voices and instruments, arranged across the stage
• Also Switchable cardioid pattern as front, rear and omni direction
• Finally record 360° sound as 2ch data or 4ch data simultaneously
• Built-in USB interface with audio interface function, usable as a USB mic
• WAV 96kHz/48kHz/44.1kHz and MP3 up to 320kbps VBR data format
• EXT MIC IN can connect general plug-in-power stereo mic (new to the H4)
• Time stamp function (new to the H4)

You can faintly see the SD logo on the prototype photo listed, so I'm assuming it's a SD-based device.

The best thing was the price: $199!!!!!!! It should come out in several months, not a moment too soon in my opinion.

Hi Karen,

My name is Loren and I'm a media grad student and documentary filmmaker in Buffalo, NY who stumbled across your blog some time ago and have been following it for a while now. I have some technical questions about the film you just finished since I know you're working in the HDV format and am currently working on a full length doc in HDV as well.

What I'm wondering, assuming your shooting ratio for the project was relatively high, is what kind of workflow you used to deal with all the material? Could you maybe do a post describing it for your blog?

Anything from whether you used native HDV or an intermediate codec for editing, software / hardware issues you ran into that were frustrating, and hd delivery format for festivals (if you're using one) to whether you captured / logged your tapes at night during the time you were shooting or left the capturing / logging process entirely until after you had completed filming.

Your blog gives a lot of insight into the tools that you use and I'd love to hear more details about both your experience shooting ethnographic documentary in HDV and your overall production process.

-Loren

My Workflow

In the field, I usually operate as a one-person crew. If I'm lucky, my partner can help me with a second camera and do interviews, but usually I am by myself. Sound is important to me, so I try to use wireless lav mics or use dual-system sound with a digital audio recorder. I shoot everything to HDV and label each cassette with the date, sequence number, and topic, and camera name. For example: 20051221b-BETHEL – Canon is the second tape I shot on December 21st, 2005 at the Bethel Community using my Canon XL-H1.

I write daily fieldnotes and I note the tape numbers in my fieldnotes where possible. Otherwise, I just correlate them later by date and time. I don't otherwise have time to log and review tapes in the field. I also carry a very minimal fieldkit which doesn't include a preview monitor (except the one built-into the camera). This has led to some problems -- noticeably that I have fluorescent flickering in some sequences of Bethel because Hokkaido uses a different power frequency than western Japan. This was not noticed until I went into post.

After the first fieldwork period, I went through the tapes that I knew had core material and I made a rough cut with them in SD mode (standard def using the built-in downconverter on the XL-H1). I sequenced a few shots together in iMovie to get a sense of what the film could be about. This gave me a sense of what I was missing (hospital life, community activities, etc.). When I went back to the field again, I shot those additional sequences.

Back home, I organized and logged all of the tapes. I had about 40 hours of tape for the two shoots in Hokkaido. Since the film is about 60 minutes long, that's a 40:1 shooting ratio. Pretty high, but I'm not very skilled. I captured and logged everything into Final Cut Pro. With each hour of HDV about 8 gigabytes, the 40 hours fit fairly well onto a 500 gibabyte hard drive that I dedicated to this project. Since i was using Final Cut Pro HDV, I stayed with the HDV codec rather than converting to a HD or intermediate codec that would take up much more space on the hard drive. The trade-off was some additional processing time, but the Quad-Core Mac Pro made that less important than it could've been.

Logging all the tape was a major pain and a major project. My partner Hisako helped here too. :-)

From there, we went through the tape logs and highlighted what we thought were key sequences. I storyboarded some of them on the corkboard in my office. And then I made some rough sequences and patched them together.

Right now, I'm outputting and distributing the various rough cuts to standard-def DVDs. I am editing in HDV and only downconverting at the final moment in Compressor. The resolution of the standard def DVDs that I'm burning isn't quite as high as I'd like -- I understand that there is some magic involved in getting Compressor to downconvert HDV into SD properly. In any case, I'm excited that the latest version of Compressor handles burning HD formats to DVD-Rs for playback on HD-DVD drives, so as soon as the prices drop on those, I'll implement that into my output formats.

Gizmodo blogs about the new Samson Zoom H-4 field recorder, which seems extremely promising. At only $300, it is about $100 less expensive than either the Edirol R-09 (which is what I have) or the Microtrack 24/96 (which is very popular). The interface for the Samson looks absolutely fantastic and it has two XLR balanced inputs, which none of its competitors have.

The mike placement of the Samson is a spitting image of the Sony PCM-D1, which costs about $2000. The X-Y configuration is designed to give you a better sound field by reducing the possibility of the stereo mics being out of phase with each other.

Samson's product home page is here and they also have a copy of the manual online, which gives some of its specs. After the jump is a comparison of the Samson H4 against the Edirol R-09. The main defect that I can see is the lack of a time/date stamp on the files. This makes it much harder to use as a field recorder -- or as the audio component of a dual-system video recorder.

I'm thinking of picking one up as it seems very promising. No one has it in stock yet though. There are also only a few reviews online, but check the video review on Neo-Fight.tv.

I mentioned in Visual Anthropology class that a cheap lavalier (clip-on) mike is ideal for doing both audio and video interviews. The cheapest that I found that should be sufficient for the purposes of the class is the Sony ECM-T6 for $12.95:

Sony ECM-T6 - Omni-Directional Lavalier Condenser Microphone - $12.95 (B&H)

The next level up is the Sony ECM-C115 for $39.95

Sony ECM-C115 Omnidirectional Lavalier Microphone - $39.95 (B&H)

Both of these have their own on-board power-supply (CR-2025 batteries) so they work with camcorders, audio recorders, and laptops that provide power (aka Plug In Power) as well as ones that don't. If you're going to use your laptop for recording, chances are it doesn't have Plug-in-Power, so you need a mike that is self-powered.

After much vacillating, I decided to get the Edirol R-09 digital recorder to record audio in the field. The other choice was the MicroTrack 24/96. The R-09 and the MicroTrack are almost identical in size, weight, and price. See my previous blog entries on this topic (here or here or here). The main factors were:

• Replaceable AA batteries rather than proprietary
  
• Built-in mic (one less thing to lose)
  
• Time/date stamping
  

There are some notes and a more extensive chart comparing the two after the jump.

Core-Sound.com has a comprehensive review of various flash-memory based field recorders. They cover the: CoreSound PDAudio, Marantz PMD670, Marantz PMD671, Sound Devices 722, Fostex FR-2, M-Audio MicroTrack 24/96, Edirol R-1.

Now, CoreSound makes the PDAudio, so take some of their qualitative comments with a grain of salt. It's also considerably more expensive than the other solutions at around $1500. Check my older blog articles on field recorders.

Just when I was about to spend $400 to get the MicroTrack 24/96 despite its many bugs (proprietary lithium-ion battery; 30V phantom power), Roland comes to the rescue with a new model also priced at $400: the Edirol R-09. The various blogs have picked up on it already, so read previews at CreateDigitalMusic.com and Transom.

On first glance it seems ideal: runs on 2 x AA batteries (NiMH ok), uses SD memory cards up to 2 gig, can record 24 bit x 48khz, and can use external mics or line-in as well as its own built-in stereo electrets.

I'm in Hachinohe, Aomori right now, blogging from my hotel room. Business hotels in Japan have become quite affordable. "Super Hotel Hachinohe" is Y4980 a night, which includes high-speed internet, private bath/toilet, TV, tiny fridge, and all importantly, a little hot water pot for making tea. Breakfast is included as well. If you're travelling in Japan, definitely check for Super Hotels. The only problem is that some (like the one in Hachinohe) aren't located in front of the train station.

I'm off in an hour or so to Urakawa, Hokkaido. I'm visiting the Bethel House community, which is made up of people with psychiatric disabilities. They run their own company which sells local products (seaweed, crafts, etc.) as well as themselves. They have a series of books and videotapes and often go on lectures to talk about Bethel House. I'll be staying there about a week to shoot some video on their community structure.

Mark Nelson reviews the M-Audio MicroTrack 24/96 compact flash field recorder. I've covered this unit previously -- the killer for me is the proprietary, non-replaceable internal lithium-ion battery. If they had it set so that it took AAs, I'd buy it in a second.

I checked out the M-Audio Microtrack 24/96 today at my local Sam Ash. Looks like a nice unit, very small. I think it's overpriced at $400, maybe $250 is closer to what it should be worth. The definite downer for me is that it uses a proprietary Lithium-Ion battery. If you're in the field and you run out of batteries, then you're screwed unless you can recharge it (AC or USB). I'd prefer something that I can feed NiMH AA batteries into in a pinch. :-(

Replacing the LithiumIon will cost $75 + shipping, via Maudio. I do like the little mike they provide, although I wish it was built-in and not a separate unit as I know I'll forget to bring it to an interview if I got this unit. I have some further thoughts on other field recorders by Marantz and Edirol after the jump.