Well, it's been a good long while since my last field recorder update and a few things have changed. So here I am once again, at your service, summarising all 22 available models that sell for under €1500. Read on for the PDF download and my commentary.
What's Changed?
Back when I started writing about field recorders there was a profusion of small, high-quality models on the market. Some of these have attained near mythic status (D100 anyone?). But all are long gone. Marantz, Sony, Olympus, and other companies have exited this space. Their units haven't been sold for a decade and those that remain are decrepit.
Case in point:
Both my Olympus LS-10 and LS-11 have seen hard work and neither operate correctly. A channel is gone on one, markings completely rubbed off the other, controls non-responsive. So I dug out my near pristine Sony M-10 and -- guess what? -- it no longer recognises any SD card. Turns out that's a common problem. But you have to keep one for your children before you'd notice. You don't need to actually use the darned thing, it will die anyway. Sigh.
Two other recorders were already past their prime when I purchased them, an act committed so that I'd have context for my many articles, indexed on the Field Recording landing page.
Then followed a period dominated by crap from Zoom. Plastic bodies, broken sockets, snapped off controls, and rather sad recording quality.
The last two years have seen two main changes. First, independent video has become a big thing. Many recorders have been released to service this market. The form factor suits camera mounting, automation makes everything easy, and timecode is a nice plus. But the operations need not support usage in the great out-of-doors. And who need knobs and dials when a touchscreen will do. Right? Right?
The second trend is towards better pre-amps. Now that was a surprise! I think we can thank the tireless YouTube cheerleaders who pick apart every aspect of new gear and love reading spec sheets. I say reading, not understanding. Ahem.
So, small blessings. For which we are thankful.
Available Audio Field Recorders
In the past I have included defunct models in my summary charts but I am finally abandoning that position because, as I wrote above, old units are now so old that they will likely be unreliable. I am also omitting units that cost more than €1500, record only in mono, or which are designed for videography, live streaming, etc. Though I have actually retained a few since they might be of interest.
I have the table sorted two ways. First, as is traditional, by volume (cubic cm), divided into the categories bulky, handheld, and pocket. Second, for a change, into subjective categories: choice, compromise, and casual. I will provide commentary for each category but do remember: if your choice is different to mine that is cool. We have different goals and constraints. I do not mean to be prescriptive.
But people have valued my opinions in the past. I shan't shirk my critical duty.
Download the PDF and have at it! And now to the commentary...
Category = Casual
In this class I put the recorders with only passable noise levels and compromises in build. If you are recording a band rehearsal or voice-over or some other louder source then any of these recorders will do fine. But my readers are more commonly gathering quiet field recordings. We must discriminate!
First we must mention Zoom, who flood the market with a confusing array of low-end recorders in their H series. The latest models with the "essential" suffix have been upgraded to 32-bit recording and downgraded to micro-SD cards. I wouldn't recommend any of these if you wish your device to still be functioning in three years.
Tascam remain a contender in this market and two lower-end models are in this category. I mention them for completeness.
Category = Compromised
Well, I didn't know what to call this category. These products have rather excellent EIN but questionable build or ergonomics.
The Tascam DR-40XP is a third-generation unit, following the DR-40 and DR-40X. It has significantly improved microphone pre-amps, now claiming EIN -126 dBu. But unlike the two cheaper units mentioned above, this model inexplicably lacks a minijack mic input, limiting its flexibility. The built-in microphones swivel from XY to AB positions and the unit surprisingly supports MS decoding.
The Tascam Portacapture series are "next generation" (meaning "this generation") units with colour touch screens and convenient preset configurations for common tasks. These two units are marketed towards app users who don't want to think about settings. But nonetheless features have not been compromised. The condenser microphones can be set for A-B or X-Y configuration as in their cheaper units. But here the capsules are larger (14.6 mm) and can be detached (in the case of the X8). The recorders also operate as audio interfaces (common feature) with the bonus ability to record over USB as well as from the mics (uncommon feature). The large feature set provides slate tones, BWF format, automatic marking (basic on time or levels), camera in/out with attenuation, pre-record buffer, dual recording, and so on. An optional Bluetooth dongle allows remote control from a mobile app. The unit has been well-supported through several firmware updates. But there's no way I want to use a touch screen in the field. So, yeah, compromised.
The Zoom H5studio and H6studio are plastic hobgoblins studded with inputs and (thankfully) real knobs. They use the same pre-amps as the F series, so no worries there. But unless Zoom's range of snap-on microphones excites you, I see no advantage to these bulky recorders.
Though I have excluded units made for video and other applications, the Zoom M4 snuck into my list. Though shaped like a microphone it has a certain amount of flexibility given the two XLR inputs. But it is over-large compared to better choices. The Tascam FR-AV2 and Zoom F3 are stereo units also designed for video applications. I include them on the list because their extremely small size may suit drop rigs.
Category = Choice
Depending on your criteria, these are the best choices in my humble and not-as-informed-as-an-ideal-world-would-permit opinion. Certainly no-one is going to object to Sound Devices, since they are one of the primo brands. However, the Mix Pre series are not to be confused with the industrial build of the 700 and higher series of professional recorders. They were introduced to compete on the "low end". The main impetus was the release of the Zoom F series, which were the first models from that company with excellent pre-amps. They undercut Sound Devices by a huge margin.
While the nice preamps have made their way to the consumer lines, the Zoom F6 and F8 are still the best choices. The Zoom F6 is perhaps the sweet spot, offering 6 inputs against the four on the Mix Pre 6, while being less than half the price. The unit is incredibly compact and rather well laid out. What I love is that Zoom haven't forgotten 24-bit recording in all the 32 hype. In that "lower" mode the look-ahead buffer allows for smart limiting... and this works well for occasional peaks. The F6 is also a popular choice for Ambisonic recording with A-to-B format decoding. But the one killer feature of the Zoom F8n Pro is dual disk recording, which guards against corruption and other surprises. You can even dual record with different formats on each SD card. Oh yeah, they are full-sized SDs, not those annoying micro things. But I do miss the lack of plug-in-power inputs on these units. I have electrets and wish to use them!
(Yes, I know. I bought an XLR transformer adapter cable. It can be done.)
Finally I should mention the Tascam FR-AV4, which I would dearly love to trial. It has trim knobs, guard rails, and a rectangular form factor made for a gig bag. But the Tascam focus on video is still obvious, given the timecode support and HDMI sync capabilities. This unit is larger and heavier than an F6 while also costing 50% more. I'm not sure what it offers to make a compelling purchase.
Conclusion
(Well, I am really one with the c-words today!)
If you are reading from Zoom or Tascam or some other manufacturer, can I offer a word of advice?
All of the choice units are designed to be as small as possible, which is nice... kinda. But this requires that the XLR inputs are split between the left and right panels. So cables have to run from both sides, often with power at the back. This means clutter and cable bulk, somewhat defeating the purpose of the small unit to begin with.
Consider thinking outside the box. Or at least thinking a different box. What about a double-depth unit that could sit vertically in a shoulder bag. All the cabling would be on one side: XLR inputs, headphone output, power. That would be more compact when all is said and done.
Think about it!
As always, I welcome comments below. Once plentiful, I guess no-one has time any more to get through the spam filter? Except the spammers, naturally.
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