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Found 12 results

  1. One of the trim knobs has fallen off my beloved Tascam HS-P82. Ordinarily, I'd simply put the knob back on, and tighten the set screw, just as with any other knob on any other device on this planet. However, the set screw on this particular knob is inceredbily tiny, by far the smallest I've ever seen, and I do not have a tool that fits it. I tried calling Tascam, to ask what size the scew is, but nobody over there has any clue. This is their flagship product, the most expensive thing they make, and not one person in their company can tell me the size of a simple screw. That's mindblowing. Fine people of the JW community, does anyone here have any idea what size this screw is? I know there are other HS-P82 users here. Have any of you encountered this issue, and found a solution? Thanks in advance for any answers.
  2. Hello,One of my location soundmen accidentally used an improper voltage setting on the power supply (powergorilla - used 16V instead of 12V). The unit powered up fine but we were not getting any input on any of the 6 channels, line or mic input. Upon checking the battery I immediately switched off the device. Set the proper input voltage setting (12V), but the unit would not power up - an error message keeps appearing - SYSTEM ROM ERRSwitched to the included 12V power supply, still the same SYSTEM ROM ERRAfter updating the Firmware to v1.31 the unit powered up okay.BUT I am still not getting any input on any of the 6 channels; MIC or LINE input; LOW or HIGH gain, phantom ON or OFF. I also noticed that I am now unable to change the DATE/TIME. Other than this, I am able to access all menu settings and record into the SD card. Although I'm just recording blanks.Lastly, I noticed that when I power down the unit - and then power it up a second time - I will get a SYSTEM ROM ERROR again. The third time I power it up the unit will power up fine, but all my settings (rec settings, pan settings, I/O, pre rec, etc) will revert back to settings similar to when the unit is INITIALIZED. Customer Support via official website is not responding to my inquiry regarding repairs. Local Tascam Distributor has yet to give me a call, (left them contact details.Is the input section fried? Will a busman audio mod fix it?Maybe a capacitor is busted somewhere that can be replaced?Has anyone had similar experience and found a way to repair this problem? I hope the unit is not beyond repair.Thank you,Bryan
  3. Tascam DR-701D 6 Track PCM Recorder Record Timecode HDMI in/out Timecode in
  4. I just got my 2ndhand Tascam DR680 from Adorama today, but it missing the dial for value. Which is surprising, as it was rated E- by Adorama, and didn't mention this as missing. Anyway, have emailed customer service in the hope to resolve this, but if it doesn't, what part should I look for to replace this? It doesn't have to be an exact match with the original, so long as it is functional. With my amazing magical MS Paint skillz, I circled the missing piece to demonstrate what I'm referring to.
  5. Has anyone figured out how to read the timecode off of the DR-701D Tascam? I am using it in the field and the AE is not having success finding timecode in the AVID timeline. Is there a trick to find the timecode? Upon import, AVID is reading just a file starting at hour 1. The Tascam is reading TC off of a Tentacle Sync, the "TC" display is on and it is displaying running TC on the TC menu page. What menu setting am I, or the AE, not getting right?
  6. New TASCAM Product: DR-70 4 channel PCM recorder 4 XLR/TRS inputs Compact, professional-grade audio recorder designed to be used in combination with a DSLR camera Uses an SD/SDHC/SDXC card as recording medium (up to 128 GB) High-quality recording inputs through Tascam original High Definition Discrete Architecture (HDDA) microphone preamps NE5532 operational amplifiers for even higher audio performance (also used on DA-3000) In addition to ordinary stereo recording, simultaneous recording of up to four channels is possible Four channels can be mixed down to a stereo signal Recording levels can be adjusted independently for inputs 1–4 Dual recording function allows two files to be recorded simultaneously at different levels Recording at 44.1/48/96 kHz, 16/24-bit, linear PCM (WAV format) Broadcast Wave Format (BWF) supported as WAV recording format Two built-in omnidirectional microphones Four XLR/TRS combo inputs can provide phantom power (+24V/+48V) +24 dBu maximum input level (20 dB headroom) Additional unbalanced input for channels 1 and 2 (stereo mini jack) supports mics that require plug-in power, allowing the input of video mics and other high-output mics Switchable low-cut filter conveniently reduces low-frequency noise (40 Hz, 80 Hz, 120 Hz) Switchable limiter to prevent clipping High-quality audio can be output to a DSLR camera for recording Camera input enables convenient monitoring of audio from a DSLR camera Selectable mid-side decoding for use with MS microphone setups Slate tone functions (automatic/manual) to simplify synchronization of video files when editing Pre-recording function allows the unit to record the two seconds of sound before recording is activated Auto recording function to start start and stop recording by input level A new file can be created during recording (manually or by file size) Self-timer function to start recording after a set period of time Jump-back function allows the last several seconds of the currently played file to be replayed again by simply pressing a button Selectable delay to eliminate time lags caused by differences in the distances of two input sources QUICK button allows easy access to various functions Mark function convenient for moving to specific locations Equalizers for playback, and level alignment function to enhance the perceived overall sound pressure File name format can be set to use a user-defined word or the date Resume function to memorize the playback position before the unit is turned off Line output and headphones output with individual level controls (3.5-mm jack) Dedicated remote control jack for use with RC-10 and RC-3F (sold separately) Hold switch to prevent accidental operation Low-noise buttons 128 x 64 pixel LC display with backlight USB 2.0 port Stand adapter (¼ inch) on bottom side to attach the unit to a tripod DSLR bracket for easy camera attachment and removal Hot shoe mount (accessible when not using the DSLR bracket) Handles on the front left and right sides protect the screen and can be used to attach a shoulder belt Operates on four AA batteries, an AC adapter (sold separately: TASCAM PS-P515U), external battery pack (sold separately: TASCAM BP-6AA) or USB bus power http://www.tascam.eu/en/dr-70d.html http://tascam.jp/product/dr-70d/
  7. Hey guys, Avid reader and new to the production sound scene. I've doing location sound for about a year now with good success doing corporate, 2 features and a bunch of shorts. Upgraded to my first nice indoor mic (neumann km150). So here's the deal: got my first gig that's got me pretty nervous. I've been asked to do sound for an interview with Martin Scorcese. My first thought was that I have to upgrade to a sound devices and some lectros or zaxcom lavs along with my indoor boom. I've been getting by with a tascam 680 and sennheiser g3's with a cos-11 mic. I know it's prosumer and I"m saving up for the next round of upgrades (I can rent too) but just not there yet. I'm confident that I can deliver clean, balanced tracks using my gear to it's full potential. What I'm kinda scared of is showing up on set with my gear and getting looks from Scorcese and the production crew like, 'who invited this guy?' Am I right to be nervous about my gear or is this a case of 'it's not the arrows but the archer'. Your thoughts and opinions would be much appreciated.
  8. Hi Tom, I just had my HS-P82 delivered, and I'm waiting for my RC-F82 to be delivered after being drop shipped by Tascam. I also have HD-P2, DR-680 and a DA-40 to transfer a pile of DATs to a computer via the HS (I might use my old HHb Portadat also to dub two DATs at the same time into the HS). I have several questions. First, I need an AES cable snake for the DB25 i/o connector, but I can't seem to find a pre-made cable that anyone will admit to working with the HS. Will any old TDIF aes 4x4 cable work with the HS? I know I can make one with the pinouts in the manual, but I have a hand tremor that makes soldering torture. I can find no information on the DB AES input re-sampling other than a mention in the manual. Is the re-sampling automatic or manual? If the sample rate of the AES IN and the project sample rate are the same, is the signal passed through unchanged or does the HS re-sample with matching sample rates regardless? I'd like to use the HD-P2 (with a MixPre-D as the front end) slaved via timecode to the HS to record an extra pair of tracks that are sample accurate and then dump the extra tracks into a DAW along with the HS tracks. Do you think this is possible? What functions can the RC-F82 still perform if only connected to the HS via the PS2 control cable, with none of the I/O cables attached? I assume transport control would work, no? Other functions? With all control and i/o cables connected to the HS and RC, will the mix AES output on the HS contain all information that would be coming out of the analog mix out on the RC? Is the HS capable, during record via the DB AES ins, of outputting via the DB AES outs the signal being recorded? I.E. simultaneous record and play via AES? During playback on the HS, are all output ports active, i.e. mix analog/mix aes (whether or not recorded originally), and the DB25 AES channels? Same for the RC-F82 ports if it is attached? If I wanted to record the mix AES (BNC 75ohm) out to the HD-P2, which appears to only understand spdif (unlike the DR-680 which does understand AES3), is it possible the HD-P2 could still understand the AES stream without having to use a Switchcraft 75ohm to 110ohm coverter and then into a Hosa AES 110 to spdif converter, then to the HD-p2? I just had to take a break typing as UPS came by with my RC-F82. I only ordered it yesterday, and the drop ship from Tascam was quicker than overnight delivery! I need that AES snake sooner than I thought. Tom, I appreciate your help with my questions. Thanks in advance.
  9. Been searching everywhere for an answer to an issue with the DR-40's dual mode and was hoping someone could clarify. If I run +4 line signals into my DR-40 with the EXT.IN gain set to 0, then there's no way to get a safety recording because I'm assuming it only attenuates the unit's preamps, and not the line input signal itself. If I'm missing something, please let me know, I'd love to have that feature but I understand if the unit wasn't designed to support it like that.
  10. Hi wonderful JW members! It's been a little while since I posted on here and I wanted to start by thanking everyone for the wonderful resource this forum is. I want to start a conversation about the pros/cons of small portable recorders to be paired with DSLR or other cameras for lower budget or "one man band" type shoots. I'd love to hear people's opinions and experiences with recorders in this market. Specifically I am thinking of 3 recorders that are out right now: The Tascam DR-60D (which has a great thread started by Tom Duffy and a review by Ty Ford ), the Zoom H6 (which has a short discussion that is mostly negative ), and the Fostex DC-R302 (which has a great thread has some negative comments mixed in with small positive reviews). I guess I'll start with my thoughts and see where that takes us. This thread is for a decent, compact recorder to be used for OMB type purposes. I wouldn't put a budget cap on this, more a size cap/cam compatibility. I'd be willing to spend close to $1,500 if there were a very compact pro recorder that was easily paired with DSLRs. (I also preface all of this in saying I am primarily a DP/Op and in every single case I am able, I hire a sound professional to accompany me. This is for those other times.) I used to record with a Sound Devices 702 and it (for me) was an amazing, durable, very simple and intuitive recorder. I dream that SD would put out a mini-702 to pair with DSLRs, but I digress. My thoughts on... - Tascam DR-60D: I don't think it has the worst form factor, but definitely not great. I personally would never put this thing under my camera on a tripod (it is way too high and would make operating more difficult and would not be conducive to switching to handheld quickly.) If I imagine using this (or really any of these recorders) I would probably mount it behind camera on 15mm rods. It seems still a little tall here, but I could deal. I am most concerned with the "zipper effect" I've read about from adjusting trim while rolling. I would also love to hear more thoughts on this unit's pre-amps. - Zoom H6: I always hated (and thus never owned) a Zoom H4N. I thought they were frankly crap recorders that were not easy to use or effectively monitor levels. This recorder seems a step up, but still not really geared the same way towards using with a DSLR setup. I am very worried about the quality of the preamps on this guy. It also is a bit weird to use with a DSLR. I would probably take off the top console and mount it behind the camera on rods. This would actually lay flatter than the Tascam behind the camera, but the form factor is so weird that having cords run from 2 directions may be crappy. - Fostex DC-R302: My main concern here is the fact that it is the only recorder of the 3 that does not record 3 individual tracks for 3 mics. 3 channel mixer - 2 channel recorder. Since a semi-common scenario is 2 lavs & a boom, this is a problem. It is flatter than the Tascam, so I may debate actually putting it below camera, but it still seems a little heavy and big. The big question is are the pre-amps that much better than the Tascam & the H6 to warrant the price jump (almost double)? I'd love to hear anyone's thoughts on these recorders or definitely suggestions of other recorders that may work. This is a piece of gear that I absolutely need very soon, but seem pretty distressed with all of my options.
  11. Hi, I understand there have been a few topics on these, but I think mostly they've been about using them for recording dialogue etc through mixers and external mics. So here's one regarding the sound quality of built-in mics. This coming February I'm taking a three week trip to Vietnam, Thailand and probably Cambodia in between. Now, obviously I'd love to record all these cool exotic sounds and atmos you find in locations like that, but since it's a holiday, I probably won't want to risk bringing my pro equipment (like a 302), which would attract attention, be a bit heavy and unpractical to carry around etc etc. So it'll probably be handheld recorders. I own a Zoom H4 (not H4n) and a Zoom H2n. What I would like to know is if you know about a recorder you know has substantially better sound quality with the internal mics (signal to noise ratio, stereo imaging etc). Also, does someone have any experience with the Rode Stereo Videomic Pro? I'm also wondering if that might up the quality when recording into the H2n, instead of using the internal mics?
  12. Tascam Dr-40 anyone here using one? Are you able to name files and if so how easy/fast is it on the fly? Thanks for any input. I did read the manual but it doesn't go into much details but again I could have missed/overlooked info. Nicole
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