multitrack handheld recorders

[Burnt Ernie]

Calling all stations....
Most versatile/cheapest/easiest to use handheld multitrackers?
Tascam/Zoom/etc.
Would be for recording shows (stereo out from console,stereo mic at console / ) as well as quick and dirty practice / field recording.

[vvv]

I've never used the available line-in, but it doesn't get much easier than the Zoom H2, once you've set it to the recording format you want and adjusted the level and set the limiter on or off (I use 24 bit 44.1 wave, low, limiter on).

Sounds pretty good - certainly usable for performance evaluation - with the built-in mic's. A few other guys that saw/heard mine in use went out and got one.

(Mine is a few years old, I don't have the H2n or whatever the current model is.)

[Gregg Juke]

I don't have a multi-tracker, just stereo, but I have the Zoom H1 and can vouch for it's decent sound and ease of use. If you want multi-track, they have the H2, H2n, and H4n, I believe. Some cool accessories too (like a remote, so you don't have to get on a ladder to press "start" if you're set-up on a high mike stand, like I have to do with the H1!).

GJ

[The Scum]

I've got a Tascam DR40 that I'm very happy with...it's apparently Tascam's answer to the H4 question...

The built-in stereo mics sound surprisingly good. I was expecting shrill or indistinct, but they sound fine. I've used it as a mic expander for various camcorders with great results.

It's got a couple of different recording modes. With just the internal mics, there's a "failsafe" recording mode, where you can cut 2 stereo versions of the mic inputs, one adjusted quieter than the other, as a safety copy in case the first one clips.

Alternately, it has 2 XLR inputs with 48V phantom, and youi can use the internal mics, plus 2 externals.

If you not using phantom, it runs forever on a set of AA batteries.

B&H have the best price - for boxing day: $125 for a limited-ed silver one, with a free set of Sony 7506's.

[vvv]

To be clear, the Zoom H2 models are stereo, with an optional surround stereo pair.

If you need more control, the H4 models are closer to the Tascam DR40 in accepting XLR connections, altho' both apparently record two stereo pairs (1 pair on board mic's, the other the XLR-connected mic's); those would better fit your request for "stereo out from console,stereo mic at console".

[JGriffin]

I got some great recordings earlier this year with the now-discontinued Sony PCM-D50. Very solid, sips batteries, adjustable mics for different stereo configurations. Reco'd.

[jhharvest]

Zoom H6 has enough inputs and can run off an external usb battery. I get 10 hours recording time off mine. Sounds crap but then all the cheap ones do.

[Gregg Juke]

Wow, The Scum! That is an awesome B&H deal.
Wish I had some more cash handy...

GJ

[ott0bot]

I love my Korg Sound on Sound. Internal mic's are great for rehearsals and singer/songwriter stuff. Best part is that it can record unlimited overdubs (up to the SD card space). The only downside is no xlr's, but I just got a dual xlr to 1/4 inch trs cable and it's great for dynamics. I've since added a Alesis mic pre-duo, and this little overdub set up kills with any mics.

[logancircle]

(Bumpity bump bump)

drum h2n.jpg (140.18 KiB) Viewed 3899 times

Anyone used their Zoom H2n for drum recording? Any favourite placement tips? OTS? Out in front? Height?

I use it for field recording around DC, foley sounds, etc. It's very clean at 24-bit, no low-cut, no compression.

Sometimes I prefer it to fully miking a kit, and not always out of laziness

[Gregg Juke]

Wow, we should change the title to "Stereo Zombie Recorders."

But seriously, folks, I only use my H1 for on-the-spot pre-production demos and drums when I'm lazy. But for me, its usefulness for ambience/foley/sfx/dialogue for video, as well as live stereo recording (shows, music on the street, etc.) and also as a "bit bucket" when using a better front end/microphones is awesome.

If I was using it to try and get "real" drum tracks, I guess I'd position it on a stand about chest height and 5-10' in front of the kit, or alternatively, high and behind like an overhead stereo pair...

GJ

[KennyLusk]

If I was using it to try and get "real" drum tracks, I guess I'd position it on a stand about chest height and 5-10' in front of the kit, or alternatively, high and behind like an overhead stereo pair...

GJ

^^^^ This.

Not sure if you want to use the surround feature, if you have a sonically beautiful space then maybe.

But I agree, you would want to attach it to maybe a full-size camera stand out in front maybe 10' away and about chest high.

[vvv]

I use the H2 quite a bit at practice, and then find myself demo'ing from the drummer's warm-ups.

I always use in stereo.

For the 3 piece band, I try to keep the bass placed hard to one side and the guitar to the other, with the voc and drum up the center. If that's too difficult, at least get the guitar (inna 3 piece) hard to one side for better mix-down control.

Recording just the kit, I keep it 6' or so in front, at the height of the top of the kick, pointed straight at it.

But I've had the H2 just randomly in the room, and it was usable, with some work.

I wrote about this 'round here before, but I often take the resultant stereo track and use EQ and gates to isolate the kick, and bring it under in parallel at mix-down to control the thump. Less often, I'll iso the snare and use it basically as a reverb trigger in mix-down.

[logancircle]

...Less often, I'll iso the snare and use it basically as a reverb trigger in mix-down.

I do the same as you with the kick, but how do you isolate the snare? Please explain using standard plugins if possible.

Thx

[vvv]

Sure!
I dupe the Zoom stereo track to mono.
I use a bandpass filter 6th order, and keep 750Hz to 1800Hz.
This serves to isolate the snare hits as the highest-level signal.
Next I use a gate to clean up leaving only those hits.
Finally, I trigger a verb (sometimes after a little compression of the hits) and bring that up as 100% effect, little to no un-processed original signal (hits) and bring it up in parallel with the original Zoom drum track.

It's similar to what I do with the kick, except that that is between 40Hz and 90Hz, and I often compress the hell out of it after the gate.

And don't be afraid to use extreme EQ after isolating the hits. For example, a narrow-Q 6db boost at 80Hz can make a pretty cool deep kick, and it can counter any reverb you might have or put on the original Zoom drum track. Or I might use a lot of that gated mono snare if I need to center it more against the original Zoom stereo track - this (the iso'd snare) with a lot of EQ, say, pumping 900Hz up ...

Another tip: if I use that kick, I might high-pass the original Zoom drum track; if I use that snare as a snare (not just a trigger), I may notch out some EQ for it in that original Zoom drum track, etc ....

Finally, I have successfully with careful EQ used the iso'd snare and kick as the main drum sound, and then brought the original Zoom stereo track in like you might do with overheads, again, with EQ