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TASCAM DR-701D


Takuro Kochi

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Looks like time code has got a lot cheaper to implement, great. But why the hdmi - this is not recording picture?

I think this is due to some of the more modern DSP processors' clocks being so accurate.   When I visited the Sonosax factory they said that the clock in the DSP for the SX-R4+ was more accurate than the previous generation of timecode clocks they'd done, so used that instead.  I expect this is the case for this machine and the new zoom

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Official USA launch information coming later today.

HDMI brings in 8 channel audio, timecode for file stamping, transport start/stop and word clock hard-locked to the camera for zero drift.

Stand-alone clocking is indeed much better with upgraded parts (oscillators, not the processors)

---

Tom.

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I think this is due to some of the more modern DSP processors' clocks being so accurate.   When I visited the Sonosax factory they said that the clock in the DSP for the SX-R4+ was more accurate than the previous generation of timecode clocks they'd done, so used that instead.  I expect this is the case for this machine and the new zoom

So maybe we see a few other prosumer products with TC.

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...now THAT unit fills a gap. TC, actual buttons instead of software faders, looks solid, flexible I/O possibilities...

I'm not expecting a SD audio quality with this unit, just the occasionnal rig when camera crew puts a bunch of go-pros and I have to rig something to pick up sound for these. Had 3 of these gigs last year and I would basically use my Sony D-50 for recording.

I might use that new one if these tv series come back in 2016. You know, truckers and big machinery drivers are still in now for these ''documentary-series'' ...

Edited by Boomboom
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Tom, this unit looks amazing.  I personally find the innovative features here more compelling than the Zoom F8, having a more realistic channel count and filling a void with a timecode capability not available before.

Disappointing not to have the wifi functionality of the dr-22/44. Also this is TC in only so no way of being the reference for when not attached to a camera.

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  • 3 weeks later...

I think that's the idea behind the 70D. Tascam is a bit more ambitious with the 701D, otherwise how can they justify such a price differential - the 70D is $300 (and can be had for less), whereas the 701D is double that - if the idea was that people would be using the 701D the same way they are using the 70D, then it's hard to see who would buy the 701D at double the price. 

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  • 4 weeks later...
On 12/6/2015 at 0:17 PM, RottenCarcass said:

I think that's the idea behind the 70D. Tascam is a bit more ambitious with the 701D, otherwise how can they justify such a price differential - the 70D is $300 (and can be had for less), whereas the 701D is double that - if the idea was that people would be using the 701D the same way they are using the 70D, then it's hard to see who would buy the 701D at double the price. 

For a one-person-crew, not having to hit record separately on the sound recorder (*AND* having them sync up perfectly in post) is a huge huge additional bonus over the DR-70D.

It is easy to see that those on a budget will go for the DR-70D, but professionals with a bit more cash to spare will get the DR-701D and save themselves the hassle in the field. 

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  • 1 year later...

Well the time has come for me to do something for my own personal camera rig and the 701D looks like the best option, so may be picking one up for me.  Tom Duffy or other users, looking at the manual, it looks like channels 5/6 can only be set to record the mix or not.  Confirming that you couldn't for example set it to record embedded HDMI audio 1/2 or allow it to record input 1/2 on 3.5mm while at the same time recording XLR inputs 1-4 on the other inputs.  If not possible, Tom, possible to kick it up to software dept?  If not possible, not that big of a deal, but would be nice to have all wav files on a single devices rather than split across 2 files (shotgun on camera and A-format ambisonics on 701D).

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