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

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

The fact that this gentleman answers every question says alot.

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

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

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

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

We've updated this video for 2022: kzfaq.info/get/bejne/oKyXfcajuMWlgJ8.html 00:36 Zoom H1, H1n, and Tascam DR-05 Handheld recorders 03:00 Zoom F1 lavalier and on-camera recorder 05:17 Tascam DR-10L and Lectrosonics PDR mini body pack lavalier recorders 06:43 Tascam DR-60DmkII, Zoom H4n Pro, Zoom H5, Zoom H6 11:53 Centrance Mixerface R4R 12:50 Roland R-88 (Discontinued but can find used) 13:48 Zoom F4/F8/F8n, Sound Devices MixPre, Tascam DR-701D 32:21 Sound Devices 600 Series and Zaxcom Maxx, Nomad, & Deva

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

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

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

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

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

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

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

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

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

Literally, the best audio channel on youtube!

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

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

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

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

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

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

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

Professional presentation of professional equipment. Thank you!

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

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

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

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

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

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

Excellent as usual

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

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

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

Thank you for a very professional presentation.

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

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

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

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

Such in-depth reviews!! New sub here!

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

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

Excellent video - appreciate your efforts

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Also something to note. The DR-60D Mrk II, we have several. If you're powering it via battery pack through usb and remove the power while still recording it will stop recording. Even if there are physical AA batteries in the body. Always use multiple mics people. Always use multiple mics. It not only stopped recording but it didn't save any of the previous 2 hours. We lost the entire segment.

My Tascam DR-40 has been rock solid for years. These others are totally great too I’m sure.

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

Your guttsiest video to date. Wow, partisanship can fly on this one. The right tool for the job. Is this a living, or a hobby? Are you getting paid? Do other people count on you? Camera system, what is it?. Where is it going? Ergonomics? What works for you day to day on the shoot? Need a computer interface? What extended battery scheme will you use? Durability? Budget? Input count and type? Headphone output/quality? Output, unbalanced or Balanced? Analog/Digital Limiters? Timecode internal/external? System accessory support? Whew I think I got it all. My favorite video to date. I am an audio guy after all, and nope not telling anyone my partisanship, but my Tascam DR-40 works fine, but it could or not change. I think in systems any way. Loved this most important as aspect of video as audio. Thanks Curtis.

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

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

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

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

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

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

And what a pleasure it is to have a KZfaq video with genuinely good quality clean audio. Makes a huge difference, and very apt for what is being discussed. (Listened via some Event 20/20 BAS monitoring speakers.)

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

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

Now THIS is the comparison I'm looking for

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

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

I dropped my Zoom H1 on concrete and destroyed it. I was disappointment in the replacement which was the H1n. Sound quality was the same but I preferred the mini usb and single AA battery of the H1 as opposed to the micro usb and 2 AAA on the H1n. I enjoy all of your videos.

This was amazing. Worth every minute of watching.

Two days ago I ordered a Zoom F8n... (Which I don’t have yet) and just saw this exceptional good informative video. Glad fully didn’t bought the Tascam Dr701D

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

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

Reference the Tascam If your XLR cable is getting stuck on a input you can be sure it's cheap connectors on the cables. Good quality costs money and the connectors are manufactured to the correct tolerances.

I've said this before, it's funny to see how your content becomes more and more relevant as I move through various production processes. This time, it's because I'm thinking of moving from my Olympus LS10 and Rode Videomic Pro to a Tascam body recorder and Zoom mic capsule recorder pack.

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

Oh! I had a Zoom H4n and NTG2 and I've always struggled. Now at least I know why! Thanks!

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

It does not seem like a 2020 revision of this video can be made any soon because I have not seen any new recorders, but I think I would like to see in general a more robust construction, a built-in battery with a USB C port and a better price, something like a cheaper MixPre3. As a separate note, I really liked what brands like Saramonic and deity have done. Great video as always!

lighting looks awesome in this one

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

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

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

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

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

I love your thorough coverage. Another great video. As a 15 year location sound human, I did find your take on the Lectrosonics lav recorder sort of....funny? Tascam as a company...mid tier musician audio. Zoom...historically a budget musician company (RE: crap). Lectrosonics is THE industry standard for 80% of reality TV, which is not the best as far as content, but does require the most robust and bulletproof operation. The only reason Lectro made that recorder, is because Glenn Sanders (president of Zaxcom-wireless and field recorders) has a US exclusive patent on wireless+recorder tech. All I am getting at, is I worry you might be misleading some of your audience (the ones who want to go onto set work) that products made by Zoom, Tascam or Rode or whatever are somehow "pro level". I would probably get fired on the first day if I showed up with any of those units. If you're a film student, wedding/corporate videographer, or work in a smaller market (not NY or LA or ATL...etc) these units will get you by until you are ready to (and can afford to) invest, BUT...they can/will ruin your day. If you have a small crew, making a proper day rate (lets say 2-cam, 1-audio and a producer), you are looking at $2000/day, just in day rate, no rental factored in. If you have to switch a location because your cheap gear can't handle the local RF or something craps out because it's not pro level, that is a big loss and will screw your reputation. Then you have the post department...I could go on. All in all...viewers, please pay attention to Mr. Judd's initial introduction and how he describes his use case...it is not "one size fits all". I'm watching this because I want to see which of these cheaper units can operate as a field recorder and an iOS audio interface, for my next long run shoot...hotel room music recording and ambient stuff. ::edit:: Just watched the last bit of your video....SUPER sorry...you reiterated everything I said. I should finish vids before chiming in. You sir are a gem. I am a jerk.