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I quite like the Roland hand-held recorders for that style of thing. R-07 is the current iteration. You'd be going analogue in, but it accepts line level on 1/8", and it would be fine for radio if it's just interviews. Kind of a mismatch in build and audio quality, but maybe it's what you are looking for? It doesn't quite duplicate; it has build-in mics, and a 1/8" mic jack, but the Sonosax would add XLR inputs and much better pre-amps. There's quite a number of journalist or amateur musician-focussed handheld recorders to choose from. Zoom H2, Tascam has one, Sony has one ... again, none of these are remotely in the same quality tier as Sonosax, but maybe they'd suit your size requirements? I would think most would be more convenient as full replacements though.

I use the exact same case, and it's the best solution I've ever found for AA batteries.

Hey @The Documentary Sound Guy, a reasonable query. My query in this case is in relation to the M2D2's place in the workflow of radio journalist, where its proves handy on reporting trips, first in field and later in the edit and tracking. While certainly a question of technique and approach, in the field a devices small profile can assist in easing importance of the moment as a source/interviewee speaks with the reporter, it's small size a unique advantage over mixer/recorders like the Nagra 7/Mixpre/ etc. Though like both those units, when returning after a day in the field, the M2D2 has the benefit of doubling as the audio interface during the edit, tracking, and playback. As for what a field reporter might couple the M2D2 with. While using your phone in the field make sense in theory (Sonosax pitched this for journalists), there are times you are recording both ends of a sudden phone call (using both of the M2D2's inputs, recording into....?) or when you need your phone handy for incoming messages (say during a satellite two-way). That said, totally, a spare phone just for the M2D2 is an option, though seems like there'd be a simpler option? Which brings me back to Lectro's SPDR, which seems most fitting in this context (albeit pricier than a spare phone). Which is why I wondered wonder if there were any comparable alternative low profile recorders to pair with the M2D2 that maybe centered around USB or AES (such as TE's TP-7, although designed for a very different audience). But hey maybe an extra phone is the convenient option. Good to have a spare.

For quick and easy implementation, I've used prefab boards like this based on the XL6009. They have a built in trimmer to dial in the output voltage you desire, simply connect a multimeter and set to 48V. Then feed that into a typical phantom powering scheme like this: (I modified that from a shure tech article.) R1 and R2 should be 6.8kΩ. The C5/R6 and C4/R7 combos not only block DC current reaching the output, they also form a high pass filter so choose values based on what you'd like. I think I ended up using something like 100µF and 1kΩ. For better efficiency and lower input voltage (allowing using AA batteries) I really liked the LT1307B. The datasheet has everything you need to know but this is the schematic I ended up basing my design on: My notes indicate I used 1MΩ for R1 and 25.5kΩ for R2 to get the typical 1.22V feedback voltage. You can use the LTSpice software to plug in whatever components you choose. I also added two capacitors (I think 1µF and 100µF) in parallel with the output to further smooth the ripple. Different values smooth different frequency ripple. Then of course that will feed into the phantom power scheme above.

There's always the Nagra Seven. Which also doubles up functionality, but at least its preamps are better than a Zoom. I'm not totally sure what you mean by USB-centred audio recorder. You mean a recorder that accepts a USB interface as an input? I don't think it exists ... there's no reason to make one when a phone or a laptop can do the job just as easily (with no difference in quality, and probably a minimal difference in convenience). If your audio signal is already on a USB bus, a laptop is the correct tool for the job. Outside of that, I assume the main reason to use the M2D2 is for its preamps, so if you want to use the analogue or AES outputs on the M2D2, any of the usual recorders should work just fine, Zoom, Mixpre, or a top-tier production recorder. I guess I'm really not clear why you want a special recorder just for the M2D2. If you just want the Sonosax pre-amps, plug it into whatever recorder you have. If you want to use the USB output, plug it into a laptop or phone. And if you want a recorder with pre-amps, get a decent recorder and don't use the M2D2 at all. If you really want Sonosax pre-amps with an integrated recorder ... sell the M2D2 and buy an SX-R4+.

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Pardon forum lords if I've missed this answer: has anyone landed on a low profile usb-centered audio recorder to pair with the M2D2 ( other than the established iphone/lectro SPDR options). Of course you could pick up a zoom F3, but thinking even that seems unnecessary as it doubles up functions. Maybe I'm dreaming, but I'd assume there would be something else in this influencer-video era of always recording.

Happy Birthday, Jeff!

I suppose that you mean the 8000 series @Werner Althaus. The MKH 8060 seems like a wonderful microphone, I'm reading... 83dB SNR and very high output (63mV/Pa at 25ohm!). Unfortunately my preamp cannot currently handle such high output and low impedance without clipping above ca. 110dBSPL, phantom power absence aside. I'm liking to keep the preamp discrete and to make it capable of 129dBSPL at those levels is very challenging (3.54Vrms input). But I'm sure it sounds beautiful for outdoor nature and details with equipment that can handle it. Thanks for sharing your wide experience on the older models. I guess I should stop worrying about versions/age and find a well maintained one.

Happy Birthday, Jeff! 🤩

happy birthday Jeff!

Nice, might check this out

50 rounds, err um, AA's or AAA's worth of storage for $5 bucks. I put a little foam on the lid underneath as AA's/AAA's are a tiny bit shorter than ammo so they would go up and down if rattled in the case but used something like this for the last 10 years with no issues. Also almost exactly the size of my 150wh V-Mount backup battery that I keep in a pelican case so I stack them on top of each other nicely in the pelican in a divided slot.

I haven't done post work in a year now and I also don't have much experience with mechanical camera noise... but I was pretty impressed by the results I got with Izotope RX9 (I think they just released version 11 now) when doing dialogue editing on a feature last year. Some new tools have been integrated over the last years since this discussion started and I thinks it's worth trying. I found Dialogue Isolate to be pretty powerful especially when it comes to preserving the natural sound of the voice when applied resonably. I think this plugin rather looks for speech and seperates it from anything else as opposed to identifying the noise and then attenuate it from the speech (which also colorates the voice too much in my opinion). For me it usually works pretty well with NR up to 6db without much coloration. With Spectral De-Noise you could easily let the plugin learn from a few seconds of only noise and then it kind of works like a spectral expander. But if you run the reduction to hard there's audible losses of fidelity in the speech and you can hear the threshold pumping. I've also had nice results combining the two with easy to moderate settings. It doesn't do wonders and you always have to resist doing a little more reduction in order to not make it sound unnatural. But with well recorded dialogue it can make the difference between audible noise and little noise that noone will hear in the endresult. That being said, RX doesn't guarantee anything and I'm always suprised by the capabilities but also the limits of this software. I wouldn't want to rely on the possibilties of post when shooting so it might be best to do some tests beforehand. If you get people convinced to do that...

Happy birthday Jeff! Thank you for all your help over the last few years!

Hello all, Anyone care to share their storage and caddy options for rechargeable AA batts? When I used to use rechargeables, I used Powerpax caddies. A battery with the positive pin pointing down/in meant "charged"; pointing up/out meant "dead". You could do a quick visual check of your battery status, and it worked just fine, for a time. After a while, repeated insertion/removal of the batteries from the caddy would strip the outer wrap, and the batteries would short when placed in gear. I'm considering a possible return to rechargeables, and looking for alternatives. Thanks!

yeah, HBTY and thanks, Jeff!!!!!

Happy birthday, Jeff! This is a good day for us to show our appreciation by donating some $$ and help keep this place going! There’s a link on the front page.

Hey all, it's been a good eight years since this topic was touched. Curious if anyone's found a particularly effective insert/software for removing camera motor sounds? Context: Currently on a film with a fair amount of close ups (and camera) in quiet atmospheres. As others have mentioned, director would prefer to avoid ADR if possible, but if them's the dice then...

Hey all, as it's been a few years I checked in with Lectro HQ about any updates: *Card Door: (update) Swapped out for a similar but more robust redesign. Repairs dept. also said they'd be glad to send out spares of the updated door. *Limiter: Hasn't changed since 2018, except in the display: (via 2022 firmware update: ) "The SPDR now conforms to industry standards for digital audio metering: the meter always reads 0 at +0 dBFS. The analog input limiter can now be seen to engage at -5 dBFS, reserving 5 dB for limiter overhead. This behavior of the analog input subsystem has not changed, but now the meter always shows the levels relative to +0 dBFS. This eliminates the possibility for confusion caused by the meter reading differently depending on the input type (digital or analog) and whether the SPDR is making a recording or playing one back" * Low Cut Filter: No shift, 35Hz is the closest the SPDR provides to turning filter off (cutting 20-35Hz range) *Timecode format: No change

I think he means how the Easyrig has rigid hooks that hold the bag, so it is easy to take the bag on and off instead of unclipping 6 carabiners. I have always wanted something like this as well. I have both the Orca and Ktek waist belt and I find both of them super uncomfortable. Even the smallest bag, I found the mixer sat too low and kind of prevented me from being able to walk properly.

Happy Birthday Jeff!

An additional question: Were you ok with having the bag low on your body? I prefer having the bag at chest level; I find it is easier on my back. But I'm curious how a belt rig would change the weight distribution.

Olle, great thought. I'd love to know what people think so I started a new thread:

[That's a quote from Olle in this thread. I'm replying in this new thread because I'd love to read people's experiences and thoughts on this approach -- Jim] Olle, I might be misreading your thought, but I too think a belt might work since for me (my bags are small (633, a few RX, a TX, etc...maybe something smaller soon). Two belts I know of: K-Tek KSWB1 – Stingray Waist Belt https://ktekpro.com/product/kswb1-stingray-waist-belt/ ORCA OR-370 Advanced Audio Waist Belt https://www.orcabags.com/product/or-370-advanced-audio-waist-belt/ Who here has used belts with bags? How big a bag worked...and what size was just too big? Overall, what did you think? A sometimes solution, the way you like to go, just didn't work for you?