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Audio Recorder Showdown: Zoom H6 vs. Tascam DR-60 vs. JuicedLink RM333

08.15.13 @ 6:36PM Tags : , , , , , ,

Audio Recorder ShowdownWe’ve all heard the age-old adage that audio is half the battle in filmmaking. When you’ve got a proper crew with a dedicated team of audio professionals, getting proper audio isn’t much of a hassle. However, when you’re working with small crews or as a one-man-band, juggling the technical aspects of creating the image and recording the sound can be downright daunting. That’s where devices like the Tascam DR-60, Zoom H6, and juicedLink RM333 come into play. But which of these devices is best suited to meeting your audio needs on set, and what problems might you face with these various devices? Robert Rozak of juicedLink has put together this impressive comparison video that should help you find the best audio recording solution for your needs.

First and foremost, you might be asking yourself how a video produced by the President of juicedLink could be objective in how it presents the competing products. Having watched this several times now, I can assure you that this video is very objective in its presentation and depiction of all tested products. Additionally, the RM333 is not an audio recorder at all, but a quality preamp that you jack into your camera in order to eliminate the need for dual-system sound. It’s in this video as a point of comparison.

Also it’s highly recommended that you watch this with a good pair of headphones so that you can hear the differences in the signal to noise ratios between the products. With all of that said, check out the video below:

For me, there are several major takeaways from this video. Perhaps the biggest one is that the Tascam DR-60 has some major drawbacks to accompany its plethora of awesome features. Beyond the fact that it has terrible battery life (something which can be remedied with external power,) the inefficiency of its digital pots makes it nearly impossible to mix on the fly (check out the 6:48 mark in the video.)

Another major takeaway from this video is just how significant an upgrade the Zoom H6 is from is predecessor, the H4N. Not only does it boast a significant upgrade in features with its additional inputs and modular components, it’s also significantly better in terms of audio quality.

However, the H6 has its own set of drawbacks as well, most notably the fact that the mic input attachment for the top of the device does not provide phantom power.

What do you guys think? Have you used any of these audio devices? If so, what are some of the pros and cons that you’ve discovered? Let us know in the comments!

Link: JuicedLink Review Zoom H6, Zoom H4n, Tascam DR-60D, RM333 – Cheesycam


We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 54 COMMENTS

  • so the referee for the “showdown” this his son is the winner?

  • Wow, this article was surely an eye opener for me.

    I really liked the front facing design of the DR-60D but hearing those digital pots pop and the battery life is a deal breaker absolutely.

    At the risk of repeating you again I’m really glad to see the improvement in audio from the H4 to the H6. But how can you forget the locking XLR inputs??

    • I don’t own a Tascam DR-60d but I worked on an indie film as the boom op & recordist for a few weeks using one with a Rode NTG3. After doing an audio test for each scene I honestly never had to adjust the volume whilst recording. Although analog posts would be better, the digital steps never messed with the recordings.

      Also yes the battery life is crap but we just used this ( on the set with a few Eneloops popped in. It easily lasted all day and is built to be held under the Dr-60D

      • I semi-agree. I have never NOT had to adjust audio whilst filming (even if just a tiny bit), BUT I always use a mixer to feed into the recorder so always do my ‘live’ tweaking on the mixer rather than the recorder.

        In other words, the 60D would work fine in my personal set-up but I agree that if you’re not using a pre-amp or mixer, then the digital step-ups are a deal-breaker. Maybe it can be remedied with firmware? Let’s hope so as otherwise the 60D looks excellent.

        • (By which I mean, it’s a deal-breaker for me but I’m glad some users are not finding it an issue in the field)

          • I’ve been using a DR60 for several months and have never had a problem with the pots. Yes, on a pure tone, you notice it, but under normal field conditions it’s either easily fixed, or not even noticeable. Of course, I’ll grant you, I primarily use the DR60 to record music directly from a mixing board, maybe there are some situations where the digital pots would present a problem.

    • I don’t know about you guys but….
      Having a crew member run by and trip on one of your mic cables, bringing your entire camera rig down with him, doesn’t sound like an inviting prospect. I would actually rethink my position and say – breakaway cables on the H6 are actually a PLUS…

      And while I am in love with the elegance of going direct into my camera through a JiucedLink – it is just an unfortunate truth that my camera’s audio is noticeably hissy (GH2). Nothing you can’t apply some NR to, but really…. It’s 2013….. we really haven’t figured out the audio thing by now? I am surprised… H6 is getting a lot closer, maybe with the H7 the audio will be cleaned up… Frankly, as someone who has done a lot of audio recording…. All of these recordings in this demo exhibit sub-par audio…. and really still are at a premium price for the quality of audio that you get. Doing a lot better though…..and I will welcome the day when I can go direct to camera (with low noise) with a juicedlink… It will make everything much nicer…

      Nice review though, albeit the shameless plugs :)

  • The only regret I have with the RM333 is not being able to buy it earlier. I wish I can use it for everything, but that is when the external recorders come in handy.

  • I view every review with a grain of salt, those with a vested interest with perhaps a tablespoon. That being said, it’s not a bad summary of the details of these three devices. It’s a bit of two apples to an orange, as the JuicedLink is not a recorder, but an audio interface; neverhtheless, good info.

    The bit on the DR-60′s stepped adjustments when tweaking volume was new. Definitely a turnoff.

    Maybe the ‘best’ solution is to use an external recorder AND a JuicedLink for the on-camera audio!

  • My preference is for a plug and play solution, which the juicedlink isn’t.

    For those GH2 people, Juicedlink suggest using the Riggy-Assist RA333 $399.00 for audio out.

  • FWIW, we have the Tascam 60D and are totally happy with it. I was concerned about the popping levels, but so far it has been a total non-issue. Granted, I rarely sit there racking audio levels—as a one or two man crew, audio is usually handled by someone operating camera, so I just set the levels with an audio check and only tweak if there is a drastic change. Even then, I have yet to hear the level pop in any of my audio.

    I can make them noticeable, but to hear it, you really need a constant audio source (like music) and to drastically rack them while it’s going. For an interview or dialogue, it’s really been a nonissue for us.

    The battery life has been fine for me. Never had a problem when shooting for a couple of hours.

    Not here to be an apologist for the device, just wanted to let those who are on the fence know my experience. We really like it, and are happy with our purchase… leaps and bounds better than the H4n ever was for video use.

  • Great video by Juicedlink. For me the Zoom H6 was a sure shot buy but the fact that the phantom powered XLR inputs DO NOT create -6db backup files again puts my purchase status in limbo.

    • They do create -12db backups though. That too low for you?

      • I believe the Zoom only makes backup files with the L/R XLR s (not the ones phantom powered tracks 1-4). I don’t remember exactly…

  • I have a DR60 – the pots are definitely *not* an issue – it’s a great little bit of kit, and I’m a real obsessive over sound quality.

  • as somebody who has owned the h6 for a couple weeks, I’ll say that it performs very well. Had 4 jobs in a row, 4 days. Never changed the batteries once. 2 days of running with a mixer, and 2 days of it just on top of it running to my 5d. had a lav and a boom hooked to it. Recorded 3 tracks separately as well as fed a line out of great quality to the 5d.

    I’ve been very impressed with it so far. The one thing for me as a drawback, is it doesnt fit in a sound bag very well. L/R are on two separate sides and it gets awkward when paired with a mixer in a bag. Though this is really my only complaint. Recorded some live shows and some studio stuff, and some doc stuff and its super versatile.

    I normally run my Tascam hd-p2 for my recorder, but the zoom is starting to take its place. I’ve got nothing but good things to say about the zoom. The audio quality too is quite spectacular compared to the h4n. A worthwhile purchase, especially for the money. The x/y mics are a significant improvement, making this a perfect device to tuck away in hard to get at scenes or locations and just let run.

  • What about getting the Tascam AND RM333. Would that work? Any advantages for that setup?

    • Not really. The Tascam is designed to be able to function as a stand-alone preamp and mixer for audio into the DSLR. Just set your audio to manual on the camera, and use the camera-out port from the Tascam.

  • Hi
    what ab S/N on the 3.5mm input on the H6? I use Telinga stereo mics using PIP Plug-in-Power and wonder if the H6 is much better than my now old H4n. Has this been tested?
    Stein, Norway

  • I own both the Tascam DR-60D and Zoom H6 each has its features and weaknesses. For practicality wise, on a small crew without a sound guy, the Tascam is best as the camera operator can monitor sound and camera quickly without moving his eyes off them… The Zoom is not practical.

    Sound wise, the Zoom gave me a ad more noise than the Tascam. (Using mke600 and at8035) mics.

    The Tascam pots issue is not really an issue if your recording source is NOT a constant sound, for dialogues, it is fine, especially once you had it set, you don’t touch it. Battery life can be an issue though.

    The Zoom is deigned more for general usage where as Tascam for dslr. Both a good just depends on your application needs.

  • I personally still can’t decide between JuicedLink and Zoom. For me, the RM333 would be the best compromise, because of its battery life, but I need a headphone output, which isn’t provided. Other JuicedLink preamps which offer this feature have a much shorter battery life, and can’t be plugged to AC power !
    On the other hand, the preamp of the Zoom H6 is far better than the H4n, and it can be plugged, but the preamp is still noisier than the RM333, and it can’t be linked to a camera very easily.

    Does anyone have an advice ? Audio preamps is for me a tuff question.

    • If you have an H4n, get a FetHead (~$100) or CloudLifter (~$150). Amped up signal, better sounding recording than the H4n alone.

      Or get an RM333 and put that between your mic and H4n. Amped up signal, better sounding recording than the H4n alone. Plus the option to use the RM333 for in-camera.

      If you don’t have an H4n, decide whether you prefer a Better Audio Recording (H4n, H6), OR if you prefer an In-Camera Recording (RM333), but are willing to sacrifice the audio quality recorded in-camera.

      If you cannot hear a difference in the video above, between the audio (not noise… the dialog) recorded between the H6 (or Tascam), and the RM333, then get the RM333.

  • Two other recorders in a similar price range deserving a look are the Marantz PMD661 and the Roland R26. I have the latter, and was quite happy for the upgrade over the H4N. Nice timbre, pretty clean preamps.

  • I bought the Tascam DR-60 earlier this summer and have been very happy with it. I’ve used it for two large projects including a documentary with and found the audio clicks to be a non issue. The two recording levels plus the line out to my GH3 have been awesome. For one of my interviews I forgot to hit the record button (Ahh!!) , but because the line out was carrying to my camera I was able to use the feed with no problems.

    Having two internal recording levels has also been very nice as I am often running audio and two cameras at the same time and it’s nice to know I have options if I need them.

    Build quality is very solid. Love it!

  • Wilfredo Franco on 08.16.13 @ 10:32AM

    Well, I’m a sound engineer with almost 30 years of experience in audio. Live audio, recording, mixing, mastering, sound design. I have also worked in many video clips, commercials, corporate videos in the audio department. I’ve used not many gear (here in Cali, Colombia there’s not many options to choose).
    From what I heard in the video, the worst option it’s the JuicedLink connected to 5D. You can‘t rely on the analog audio circuits of a DSLR camera (I don’t think the preamps and the analog-digital converters are good enough. DSLR’s usually doesn’t have line level input, only mic level input, so the bad built-in preamps are always there). The audio clip of the RM333 directly connected to the camera sounds really bad compared to the others (in this video). It lacks of bottom and high end. I don’t recommend recording to the camera unless you have to. Maybe a backup.
    I’ve used some audio devices in the past, Zoom H4n (noisy and weak preamps), Olympus LS-100, some analog mixers, etc. My favorite of all time, the Sound Devices 302 mixer connected to the balanced XLR inputs (line level) of various videocameras. Any direct connection to a DSLR with a 3.5mm plug it’s an unbalanced connection, so be careful with noise and interference.
    In this comment I’m not talking about ergonomics, battery life, screen visibility. I’m talking about the most important thing: audio.

    • Wilfredo Franco on 08.16.13 @ 10:45AM

      I forgot something important. Remember that “a chain is only as strong as its weakest link”. When you use a DSLR to record audio, the weakest link it’s the camera’s audio section. I think the RM333 it’s a very good device.

    • I heard what you heard related to the RM333 audio in-camera.

      I downloaded the video, stripped out the audio track, and metered it. The RM333 was below -50db, and the quietest. However, the audio quality was to worst among them. So, it gave approximately 3db less noise than next quietest, but didn’t reproduce the voice with the same range of frequencies.

      With that in mind, I can always do 3db of noise removal, but cannot do anything to add to the range of frequencies not reproduced in-camera.

  • It may not be pretty but the JuicedLink performs just fine (in my case, coupled with a GH3), particularly for those who want or need the convenience of single system sound. Battery life is further improved with the option to turn off unused sections of the preamp.

  • Here we are reviewing these devices for sound quality, but to me the way Robert’s voice is recorded a problem. I can hear too much breathing and sucking in air, the “S” sounds too sibilant. If the person making the demo can’t record decent sound I can’t trust his findings.

  • Andrius Simutis on 08.19.13 @ 12:45PM

    I know that any comparison video will never include every option, but it seems to me that of the affordable DSLR solutions, the Tascam DR100 mkII is the current leader.

  • I know a little off topic since it isn’t one of the products listed above….but I am usually on two person documentary shoots. Sometimes in interview situations, the camera person mixes the sound too (before camera).

    I love my Sound Devices 552…full featured mixer with a recorder built in (no T-Power but a barrel can knock Phantom Power down to T-Power). Clean sound and ALL DAY battery life with an NP battery.

    I recently used the new Sound Devices 664 (mixer with recorder built in) and that thing was awesome!! More features than the 552, dual recording for constant back up, all day battery life with an NP battery, and just as clean (maybe cleaner) sound. My only complaint on the 664 is that the meters were not as quick or instantaneous as the 552. If I had sound work every day, I would get a 664 at the drop of a hat along with a Peluso CEMC 6 mic (with multiple capsules).

    I did see the Zaxcom MAXX has some possiblely awesome upgrades available but weird that the inputs are on the bottom…weird.

    • Talking about sound devices here is really monetary waaaay off topic…please get real. we are discussing economic entry audio solutions not the best(at least much better) options money can buy.

  • Dennis Mathias on 08.23.13 @ 1:52PM

    Now, really. What the heck is a digital potentiometer? No way. It may seem that it goes in steps but that’s because the potentiometer is feeding an analog voltage to a A to D converter. And that’s the granularity. Sounds like 4 bit A>D–so 16 steps. The ones you can’t hear might be 8 bit A>D or 16 even giving you 256 levels. But the CONTROL is still analog. You’re just controlling the gain with a digital RESULT.

    At least doing it this way eliminates the scratchiness that a purely analog circuit would provide.

    But aren’t there digital pots? No, but there are step attenuators which are very expensive and no one uses them any more. But in the old broadcast boards they were common. And they move in DB steps.

    It’s all just design. And if you have a LOT of head room, you don’t need that many steps because you’re never going to do a live fade in the field. You’ll do that in post. The upshot being, it doesn’t make that much difference.

  • Randall (40 Year Docu Guy) on 08.23.13 @ 3:46PM

    While the presenter’s slant is understandable in these DIY days (EG: wanting a minimal form factor and low control complexity) this may not serve the actually needs of mid and high end productions that even newbies will find them selves after a few project. Accordingly, since there is a “mixed contingency” work flow in the real-world. For example, Sometimes audio alone is being recorded; as in pre-shoot location tests and preliminary interviews, and sometimes video with audio OR NOT not is recoded. This is where the Tascam unit makes a lot more sense; especially for us old-dog docu people who always show-up for the shoot “loaded for bear.” So, why not “have it all” in terms of recording flexibility (including self-powered mics to reduce recorder battery drain and cheap multi-voltage L-ion batteries that last way longer and power everything on the rig)?

    Sadly the Zoom 6N is a poor cousin of the Nagra SD tnat will still suck-in a lot of newbies, but sometimes wasting time and money is the only way to learn. But there is a Zoom unit that is most useful, as noted next.

    Finally, my working solution for audio acquisition in most any production situation is: The Tascam DR60 with two self-powered shotgun mics (Sennies preferred) on channels 1/2 that collect the primary audio (and feed the camera if needs be), PLUS a Zoom H2N (not the 6n) as an ambient/backup/2nd angle mic that feeds into the Tascam (but not into the camera feed) on channels 3/4; whilst also recording the ambient/2nd angle sound on the Zoom as a “raw mid-side” track for use in post. The Zoom H2N recorder ambient sound is also great for cut-aways from interviews to “walk and talk shots” BTW: I use a cheap Android table with a free electronic slate that shows real-time and frames to do the sync-sound slating; works just as well as the pro stuff.

    Yes, it is more cost, gear and audio post-work involved; but that’s the reality of advanced media making.

    Good luck and keep at it!

    • Randall (40 year docu guy) on 08.24.13 @ 3:16AM

      Sorry about the botched spelling and grammar in the first text … if anyone wants clarification I will be happy to follow-up …

    • Terence Kearns on 08.24.13 @ 11:19PM

      Thanks for the tips. Checking out the Nagra SD now. What is the main advantage of the Nagra over the H4n?

      Also, what Android app do you use for monitoring?


      • Rand (40 docu guy) on 08.29.13 @ 5:15PM

        Hey … the Nagra SD is a true PRO stereo recorder and is very flexible despite those clip-on mics (it can do real balanced I/O with shielding just like and XLR connector) and the thing is built like a tank and cosly because of it. But it is a good machine for strickly stereo work. Probably not a beinginner’s machine. The 4N is a good maching, and I think the 6N is too, but I don’t like immators who make the original concept look dumb and the 6N did that to the SD in my opiion.

        As for the Android app, I was referring to the one that a touch schreen controllled “virutual film clappper board” that shows reali-time and frame and makes a real “clapper sound” so you can do old school audio and camera sync sound (which is great for more than the usually primary rocording stuff. So, go to the Android App store lonline and search for “film clapper board” or “sync sound” or time code sync sould clapper board: or sum such combo and you should find it . Also, there is a hardware version of it that a clock maker in Hong Knon offeres and its if true usable in old school sync ssound and not nealy the cost of the pro stuff.

        Just us ideas … there are lots of ways to skin a cat …. be well … and keep at it…. RB

  • I’ve been using the DR-60D in my productions for some time now. It’s been a great experience. Sure, the battery life isn’t great but I’m using rechargables and they are easy to change. I keep the device attached to the base of my camera with a quick release plate on the bottom for my fluid head. At first, I was concerned about the extra weight but have found greatly increased camera stability with my GH2. I adjust my pots prior to recording so that isn’t an issue.

    The GH2 doesn’t have headphones out so the DR-60D solves that issue. I feed the output to my camera and most of the time that is sufficient. Having backup files at -6 db. is comforting. And I frequently shoot multi-camera so the DR-60D can feed my other cameras as well.

    The downside? I’m still looking for that one.


  • I work with a small crew. Three people at most. Because I am the director on most of my films and I like to be close and interact with my actors, I do the sound work. It is easier to make acting adjustments while I am adjusting a mike placement and I can speak quietly to the actors. I hand off the cinematography to one of the crew. I have my Zoom H4n with me and in full view at all times. I used to run my microphones through a converter mounted on my camera that was normally mounted on a tripod. People on set frequently tripped or pulled on the mike cables. Which required heroic saves to catch a falling tripod and camera. I will never tie microphones with cables to a camera ever again..

  • Terence Kearns on 08.24.13 @ 11:04PM

    For my money, you can forget about the DR60D with that crappy battery life. I’ve recorded seminars etc, and battery life is an issue. Short battery life create a reliability issue for me.

    That zipper noice from the DR60D is also completely unacceptable. WTF.

    The lack of phantom on the addon XLRs for the H6 is hardly a deal-breaker. Just use the bottom inputs for mics that need it and use different mics on the top inputs. If you really need 6 phantom powered mics, you’re probably in the market for more than one recording unit and/or probably a mixer too! or a completely different unit with tonnes of inputs. Maybe a motu and a laptop.

    They’re all impressive units, but the H6 clearly beats out the DR60D for me… Also, why name it the same as a popular camera? what’s the go with that? Did they just not realise there was a camera called a 60D??? dumb!

    Also, LINE OUT is LINE LEVEL dude, you’re not gonna want a potentiometer on that :)

    Also note that Limiting and compression is not the same as trimming (attenuating the gain), so there is no equivilent for that. Compression at capture time is a real boon and well under-estimated in all reviews.

    Also his approach to comparing the benefits of 24bit recording is completely irrellvent. Loudness resolution isn’t about being able to record a wider dymamic range (even though you can), it’s about supporting resolution for what you record so that when things go wrong with your audio, you have more data to work with to do repairs (in a product like Spectral Layers for instance). I’m a photographer so I compare it to a photo with clipped highlights. If I ahve an 8bit JPG, I am not gonna be able to rescue a badly clipped image as easily as I can with a file recorded in RAW. Whilst well recorded images may exhibit no visible difference between a RAW capture and a JPG capture (once uplaoded to facebook), having more resolution gives me better options when things go awry as they frequently do in the real world despite best intentions. He is also wrong about not applying non-linear effects to audio – this is exactly what audio compression is. Still, the main benefits is recovering bad captures.

    He is also wrong about the need for dual system audio. I recorded mono dialog at a wedding recently on my H4n, and I recorded in 4 channel multi-track mode with different gain levels. It worked a treat as there was a lot of unpredictable levels happening during the ceremony that I couldn’t predict and I wasn’t there to ride the levels as I was running around taking photos. So he needs to get out of his engineering shed every now and then to get some real world experience.

    Also, I don’t want locking XLR sockets. If the chord gets yanked, I don’t want my rig getting pulled down crashing to the floor. I have NEVER EVER had an XLR cable simply fall out of my H4n. I don’t like the idea of locking sockets in a recorder. They are best for things like microphones and heavy mixing desks.

    All things considered, bloody excellent review though :)

    He is dead right about “oops I forgot to record my adio” (this has happened to me), but he neglects to point out that you can set the H4n to auto-record.

    • Locking XLR on the H6 is a red herring. The option might be important for some applications but very unlikely to matter. If you really want locking, just put a short patch cord on it and gaffer tape it to the unit.

      The sunlight issue is an issue, but also applied even worse to the juicedlink. While the mixer can move until he can see the screen, the cameraman cannot move the camera to see the levels of the juicedlink. Cameras use LCD displays, too.

      I do think he has a valid point about the sound being comparable from the hot onboard camera signal vs the H6 and D60.

      Overall, I think the obvious bias was missed by nofilmschool. It was heavily biased, but not untruthful. Bias just makes a bigger deal about something than deserved. Yes, the zoom doesn’t lock the XLRs. Not a huge deal. Harder to see in sunlight? Yep, that matters. D60 drains fast? Yep that matters.

      The important thing is for buyers to know what they’re getting into and what they need to mitigate. I looked at the d60 but upgraded to the H6 instead. So far, I think it was a good choice.

  • What is the difference in battery life between Zoom H6 and Marantz PMD661MKII?

  • HI!
    Sorry, if I’m writing something that already discussed, but I son’t have the time to read all comments.
    Two things.
    I’m using h4 and h4n for a while, in works where we use professional camcorders (with XLR analog audio inputs). Even the old h4′s SNR and reproduction of whole audiopicture (frequency response ect.) much better then of a 8000$ camcorder(I mean mic directly plugged to camcorder’s input), which means that Zoom’s preams are better.

    I don’t think that a sound recorded through a mini jack input of an DSLR (design and made not for video recording) is comparable to a professional camcorder’s XLR input….

    To make good audio recordings you need a good sound recordist, who handle the sound recording tool, so it won’t be attached to the top of a DSLR….(no display, or slack cable atachment problems)

    The meaning of 24 bit is to capture voices in a wide dynamic range – from shouting to whispering – whithout adjusting the preamp, or using limiter, and keeping good SNR.

    • Nobody measures the dynamic ranges of portable recorders and rare manufacturers specify the dynamic range. Marantz PMD661MKII has has dynamic range of 65 dB. So there is no much benefit to use 24 bit instead of 16 bit. This is tue for many recorders. If you want the EIN noise of the mirctophone and pre amp to override the noise floor of the ADC and analog electonics before that by amplifying EIN noise 10 dB over ADC noise you get only 55 dB dynamic range. This is fine for speech if you can adjust the volume but for everything else this is difficult and you get distorsion or low SRN.

      Marantz is excellet recorder to capture quiet sounds (EIN noise about -125 dBu) but I’m tired of recording everything twice. First quiet sounds with high amplification then louder sounds with lower amplification then I have to combine these two recordings. In studio you can use low noise preamp, ADC with high nynamic range (110 dBA) and computer but in the field this is not possible.

      By the way. The noise floor for example -100 dBu RMS (20 – 20 kHz) does not meat that you can’t distinguish/hear sound signal lower than -100 dBu. You easily hear (for example sine tones) lower than -110 dBu RMS mixed with -100 dBu white noise.

  • Blackout Shooter on 10.7.13 @ 7:47AM

    Couple of questions for the D60 owners. I have an R-44 at the moment and want to sell it – it has a crap battery life, stepped gain pots and the pre-amps leave a lot to be desired. So please tell me that the pre-amps better and I won’t have to have the gain to near maximum to get a usable leverl from and NTG2! Also, I’ve read somewhere about the recorder creating interferance on camera’s audio track and shielding is needed?

  • Man, I can’t decide between either.

    Tascam should included at least 1 more XLR.. this stereo tracks 3 and 4 suck for audio capture. If you stereo adapter out to 2 more xlrs, the wobbly weight of the XLR connectors themselves makes it less than ideal. I just wish the H6 LCD wasn’t so washed out.

    What cracks me up is.. and I have some juicedlink products.. It’s a DR-60 Vs. H6 review, why the fck does he put in his 333 for? makes no sense. Just compare the two products.. c’mon, if I get the DR-60 or H6, I’m not going to be using a juickedlink product too. Makes no sense, ads weight and one more thing to mount.
    Riggy micro who CARES?!?!?!

    All his review (and I get it, he’s the owner of the company) sticks in his product. Obsolete buddy, obsolete.

  • Battery life of the D60 is not an issue. for $20 you can purchase a 5v cell phone re-charger. A Li-ion battery that is as big as a lighter and will power the device for 15 hours through standard USB cable. if your stil worried, buy two. $40 runs it for 30 hours, with continuous back-light and no power off options. solved.
    I have been a film maker for 25 years and as a DoP would be quite unhappy with a sound recordist “riding” any pots…digital or analog.
    when the level checks are preformed and set, thats it…dont touch it. If your recording a live continuous sound, like a band, your doing it wrong anyway and it will sound terrible regardless of your ‘pots’. The D60 works fine with a sound board feed. once again, check it, set it, leave it.
    Have discipline as a professional, dont fiddle with your gear when its live, unless the shot calls for your touch.

  • Hi Guys,
    I am in purchasing mode to record some interviews for Youtube. I am looking to purchase the Zoomh6 with a stereo lavalier mic from Giant Squid called the Podcasting stereo mic. However, I got this warning from Giant Squid that makes me wonder if their mics will work with the Zoomh6

    “Don’t plug into any XLR or 1/4 inch jack or the mics will get fried by the high voltage. The maximum volts my mics can take is 10 volts.”

    Does the Zoomh6 have inputs for this type of mic? Can I use an adapter and still plug into XLR? I also would like to connect a Rode Boom to it. Can I expect to connect the lavalier and the Boom simultaneously. What do you guys recommend? Is there a better solution?

    I hate the word “Newbie” but ok it is spilling out….

  • I think this is a very good comparison video, while obviously Juiced Link making it’s argument that in-camera audio is just as good as an external recorder. Juiced Link makes fine products. I just was amazed how much noise there was on the Zoom H4N demo. I own two of them, and despite their shortcomings, I think they are very capable recorders producing excellent, clean sound. I personally do not get anywhere near the amount of noise presented in these tests. My biggest complaint of the H4N is that if your battery dies while recording, you loose your entire sound clip. An extremely poor and significant design flaw. I hope Zoom has fixed this in the H6!

  • Thanks for this great post. I’ll add one benefit to dual system sound, that was overlooked. Any editor knows that with interviews in particular, a majority of the interview will be covered with Broll. That means that a camera glitch, battery/card change, or other snafu that happens at just the wrong moment can be covered seamlessly if the audio recording doesn’t shut off at the same time. Same can also be true with run and gun stuff.

    Anything can go wrong with any setup you choose and all of this will take practice for each filmmaker to get right, but I feel a bit more comfortable knowing that even if the camera isn’t rolling, I’m still getting crisp seamless audio that may have some useful gems in it.

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