A Moment with the Tascam DR-1

[ptram]

What kind of Speakers , Two way , Three way , at only 25 cm , you are not going to hear a proper spread it will be all low freqs and no highs ( just exactly what your graph shows .

Mackie HR824mkI, two way. The sweep is mono, so there was no need to take the signal in stereo. DR-1 was placed between the high dome and the bass speaker. I'm repeating the test pointing the DR-1 exactly at the dome, since what I need is the most accurate measurement of the highs.

also the Audio quality of Audacity isnt that great , I have Audacity , and Bias Peak Pro , ...... You can REALLLLLLY hear the difference

I know that Audacity is not very great when audio quality is concerned, but I doubt it can affect coloration in a radical way. Or does it? Unfortunately, I don't have another program to do the frequency plot. In any case, other progams show (in sonograms) the same progressive weakening while going toward the highs.

Something that the DR1 does suffer from is Proximity Effect. The closer to a sound source , the frequency shift becomes obvious.

I did consider that, being cardiods, proximity effect could be a problem for the mics. My guess was that 25cm where enough to avoid it, but I will repeat my test at the standard 1m, and an higher recording volume.

Later,

Paolo

[ptram]

OK, here is the new test. Linear sweep (20Hz-20kHz) generated by Logic. Recorded at 1m with the internal mics of the Tascam DR-1, off-axis since recorded in stereo.

Edited September 15, 2008 by ptram

[ptram]

...and this is the diagram with the DR-1 and the SP-CMC8 (AT943) external lavalier cardioid mics (on-axis), with power supplied by the DR-1 itself.

Edited September 15, 2008 by ptram

[greenmachine]

What you're measuring is mostly the freq response of your loudspeaker and room acoustics. At what kind of angle did you point the recorder's mics toward the loudspeaker and did you mix down both mics into one channel for the graph? The mics are most likely angled outwards at ca. 90-120° to create a stereo effect, so it is impossible to point them both directly towards a point source.

[Strungup]

Hey Ptram are you on a Mac or Windows , if your on Mac I can send you a prog , that I think you will like .

But yeah as Greenmachine says The Speakers are coloring a ittle I can see it in the graph , you will notice the sharp drop at 20 KHz , that if it where Up a few decibels is what I hear in my DR1 , the highs are smooth , with a little crisp in them , The Zoom had a definite High freq problem , I could hear them just being wacked off to conserve white noise

Not the DR1 , ...... but I appreciate you efforts , that is cool that you did that . I just hope you on a Mac , if so PM me with your email I will send you something.

[Artstar]

Tascam has reissued the DR1 in a new form ( RED !!!) as the GT-R1

Designed for Guitarist .

I may have to check that out !!!!

I recommended that one to my colleague, based on your experiences with the DR1, as he's an avid guitarist (he has a fetish for Gibson SG's) and wanted something that he could just record with but this one has a few more little gizmos that got both our attention. Hopefully he'll send me an email from Canada telling me more about it, if he ends up getting one!

[ptram]

That's right, I was pointing the DR-1 in the wrong way. Shame on me.

I repeated the test pointing the left mic directly at the dome, by angling the DR-1 about 45° or a bit more. Not precise, but much closer than with my earlier tests.

I went nearert to the speaker, since I'm more interested into the high frequencies than the lows, and low-mids, where the proximity effects should appear.

As you all guessed, the frequency plot extends more than in my previous tests,with way less HF dampening. Obviously, this cannot yet be considered a reliable measurement (I hope to do it with the right tools soon, just for my curiosity).

I'm also deleting my previous messages, to lower information noise.

Paolo

[LaFolia]

Thanks for doing this, but I liked it a lot better before you deleted all that information. The value of this is not in just some single curve, but in the comparison with a known microphone. If you just post one curve, you are measuring a combination of (1) speakers, (2) sound system, (3) the room, and (4) the microphone. If you compare it with a known microphone, then you can eliminate all but the microphone.

In this case the specs. of the other microphone are sort-of available, but the frequency response depends on the capsule type. Did you use the omni, the cardioid, or another?

As other people noted, even that is not absolute, because the response is different on axis than off axis. What we are after is mainly the on-axis (45 degrees) spectrum, I suppose, but the spectrum with it pointed straight ahead is also interesting because that's how it's going to get used much of the time. So it's probably a shame that you deleted all those charts.

Also, different microphone types will pick up different spectra in a room. You might get more bass and less treble from the walls, for example, so an omni may sound different from a cardioid. So there is going to be some slop in the tests, but it's probably a lot better than nothing, which is what the manufacturer gave us.

Personally, if I were doing this, I think I would use white noise (which Audacity can create) -- because by definition it is completely flat across the spectrum.

[ptram]

Thanks for doing this, but I liked it a lot better before you deleted all that information.

OK, I'm sorry. I recovered the most significant diagrams of my previous tests, and changed the messages a bit.

[LaFolia]

Wow! A real fanatic!

Also, when comparing microphones, note that many have greatly enhanced treble for speech recognition. If you are trying to reproduce sound, a perfect microphone would sound lacking in treble by comparison.

Edited September 15, 2008 by LaFolia

[ptram]

Uh, something more important: yestarday I tried to record a thunderstorm (it seems this is the most loved app for a handheld recorder, isn't it?)

I wanted it as out of the window as possible, so I layed it on a heavy book between the glass window and the outer wooden panels, just under the roof frame. This way, no water drip could damage the recorder, but I hoped to have it as soon to the storm as possible.

It was. I recorded as much wind as the raindrips. So, do not forget to let it wear a cuff if doing the same!

Paolo

[Strungup]

the Sony Furby for the PCM-D50 fits the Tascam quite nicely , I have used it with a sock over it as well for windy situations .

That was covered in an early post of this thread .

[Strungup]

I Just got a TCD-D100 Sony DAT recorder , so I am going to play with it for a while , The mic pre in it is pretty nice , It will be good to A/B with the RH1 , ( The DR1 wont even compare )

But a Three way , comparison of my AT822 , with the DAT , at 44.1 khz , then the RH1 at PCM which is the same , and the DR1 with its own mics , then record real time from Line out from each to be fair to Peak , or Final Vinyl , ( The RH1, and DR1 can Upload , but the DAT doesn't so to be fair they should all come thru the sound card line level .)

Sound is what matters , not convenience .

[freechess]

Dear DR-1-Users,

I'm facing tiny recording-dropouts (~0.1sec), which makes me quite sad.

Used Card is a "Transcend SDHC - Class 6 - 8gb".

Dropouts became less, when I started formatting the card between the data-exchanges,

but here and there (on a 2hour-recording ~ twice) the DR-1 writes ..Silence..

Did anybody have similar problems and how did he/she solve them?

Is it maybe normal behaviour for such cards after intensive usage?

Thanx for your thoughts...

[Strungup]

Here is the Media list

http://www.tascam.com/i-3609-232-128-0-A9C35BDA.pdf

and on it the Transend cards are only approved to 4 GB ,

Hagiwara , PQI , Silicon Power , Lexar , and others are tested to higher capacity . The Media list is pretty accurate , and one of the things I appreciated about the DR1 , They DID and Continue , the trying of all kinds of cards , actually looking for probs , ( Not just them but customer base as well) Gather reports of consistencies and post them . If you have 10 out of 10,000 saying " My machine is doing this " Tascam asks , What card are you using ? ...... 9 of them say A -Data , or Transcend , etc .......

The testing is already done in some cases .

I have tried different cards myself , and can see a BIG difference in the way the DR1 responds , Startup is quicker or slower depending .

Also MP3 quality , and speed of processing , is noticable .

The Lexar and Panasonics work pretty well for me.

[InScale]

Greetings Forum People!

I came across this site while searching for info on the DR-1. I read the entire 18 page thread and learned a lot of stuff………but don’t pretend to understand all of it!! But I learned enough to make my decision to purchase one, which I just did a few hours ago.

Not only am I a NFG here but a total noobbie with recording in general. I “play” guitar.........well probably better described as “play with” a guitar. I am nowhere near band quality, just a bedroom player. I plan to use this recorder partly as a learning tool.

I have a question for you experts. My amp (Line 6 Spider 3 -75w) has a headphone jack and I would like to know if I can use that headphone jack out into Mic1, Mic2 or the line in directly on the DR-1 for recording. Not a great big deal, but I would like to know if this is doable with out damaging the unit.

One more question for now. I did one quick test recording with the on-board mic and the unit worked fine, and to me the reproduction sounded great. I see that the new recording is given a number. If I understand the manual correctly, I can change this number to a name when connected to my computer. Is this correct?

Well that is all for now, I am sure I’ll have more questions once I actually start using it and hope my questions are not too stupid. Please be kind to the noob!

Thanks,

Craig

[Strungup]

Headphone out of AMp = Line input on the DR1

Make sure to control the volume of the amp watching the meters on the DR1

[Strungup]

Ok , as of this post , I will not answer any more questions about the DR1

Reasons :

#1 There is enough information in these posts for almost anyone to decide wether it is useful or not.

#2 There are Audio clips , and demonstrations that sufficiently give an understanding of what it sounds like

#3 I no longer own one

I spent the day on an Island with my new DAT ( Sony TCD -D100 ) and my AT-822 mic

The Mic pre in the DAT , Exceeded my expectations dramatically

Every imaginable minute detail , was very clearly presented in my ears , And the form factor of the machine , the fact that it uses AA bats

Rechargeable AA's work very well and with todays High Capacity batteries , the Battery life far exceed the Specifications

I dont mind the real time Transfer at all , I can go from the DAT to the RH1 and upload that way , so I dont even have to burden my Mac in anyway . DAT Tapes have become much cheaper ( They are on Clearance everywhere so I will buy as much as I can )

So , there is a Happy German Drummer , who now has a Tascam DR1 that was Babied and has very low hours and a 4 Gb card in it

And I have become quite content with what the DAT gave me . Flash recorders have a way to go to get to that sound quality

They are very good for the Idea catcher , and posting stuff to the net , but MD still rules on that price level I have two separate Island recording , to qualify it for me , Sarujima , I took the RH1 and the AT-822 , Result , and conclusions : ... I need to get a VERY good wind screen for my AT-822 . Period , everything else was perfectly clear and dynamic

second Island , Enoshima , DAT + AT822 : The DAT has a Mic limiter built in , and it is very well set for Nature and Moderate sound levels , I got an Extremely good recording of 1 hours walking , Hawks Calling , People passing , Boats in the distance , birds in the trees , wind thru the trees ( The limiter REALLY came in handy ) I did get some clipping but it was Cable contact issues , and windscreen issues from my mic setup ( I have the DAT in a Bag hanging from my backpack , so it swung around a bit and the cable moved a lot )

Those are controllable issues ( Proper case ( already obtained) and more secure cable arrangement ( working on it ) and a GOOD windscreen ( need to make it )

so unless something REALLY spectacular turns my head ( a Large sum of money , and MAybe just Maybe the SONY PCM D50)

I am done with the Flash recorders . I Love my MD's , and I am Falling in Love with my DAT )

The Tangible Media , the working of the Mechanism , feel of it in the hands , Keep the Analouge attachment alive , and the results , are all you really need .

So , If your a Working , Budding , or Bedroom musician , and need a Great way to practice Get the Tascam .

If your into REAL recording , dont .

Thanks for all the kind comments , I am glad I could have helped , and Tascam took some of my ideas and suggestions and made a NEW unit especially for Guitarist ( which is what I told them the Niche was really for for this recorder ) so you have two choices in that realm.

As for me , My MZ-NH1 , My RH1 , and my DAT are going to get along very nicely .

[ozpeter]

Quite an journey you're on, mate!

I still have three DAT machines set up (or almost set up) in the studio here but only one, an HHB PortaDat, still reliably plays most old tapes. It's been a while since I've recorded anything in the format, although it used to be the mainstay of my work (and was one of the earliest adopters in the UK, as with MD).

Now I regard my Edirol R-44 as a good replacement for the PortaDat - with the added benefit of a second pair of mic preamps and recording tracks - and it's somewhat smaller.

I guess we all fall in love with different bits of kit - and with different women, which is kind of essential for the survival of the human race!

[jpoprock]

Hey guys... is there any trick to getting your DR-1 to see the 4gig card? does it have to be a certain kind of card? Cuz i have a new one in my unit, formatted, etc... and it won't show me anything in the menu beyond 4 gigs. It's not even a choice. It stops at 2gigs, so I'm wondering if it's something I need to do on my end or what. I think I'm running the newest F/W... I can't recall which one. I don't think they've come out with a new version recently have they?

J

[ozpeter]

Ok , as of this post , I will not answer any more questions about the DR1

Well, looks like we're on our own on this one now! I don't have the unit but I can tell you the card must be FAT32 formatted, not NTFS, and in any event you can't write a bigger file than 2GB on it anyway (though you could write two files of about 2 gigs on a 4 gig card).

[Artstar]

so unless something REALLY spectacular turns my head ( a Large sum of money , and MAybe just Maybe the SONY PCM D50)

I am done with the Flash recorders . I Love my MD's , and I am Falling in Love with my DAT )

As for me , My MZ-NH1 , My RH1 , and my DAT are going to get along very nicely .

Heheheh. I think I've gone over this before so forgive me if I'm repeating myself. Long ago, when mAudio released the Minitrack flash-recorder, I was initially tempted but decided it was not for me based on two factors:

1) No 3.5mm stereo line-in for my Core Sounds binaurals

2) I still liked the idea of having my MD's as my masters. In other words, for archiving purposes it's much cheaper and more reliable to have MD's rather than a stack of flash cards for archiving purposes

Since the death of the recording functionality in my MZ-RH1 and given the fact that I've been spoiled by never having to swap discs again at the perfect moment during my bootlegs like I used to with my trusty workhorse MZ-R50, I figured my options were down to two:

1) Go back to using my MZ-NH1 and have to go through the hassle of always changing the AGC setting to Manual. The MZ-RH1 spoiled me with its ability to retain the last used setting in memory. Furthermore, risk the possibility of a dud disc which would result in the recording stopping at a really bad time despite my constantly monitoring the remote every minute to make sure it's still rolling.

2) Bite the bullet with a flash-recorder and rely on making archive copies on an external HD.

It took a lot of thinking to get me to my final decision. The fact still remains that the MD's are perfect for archiving because unlike the HD, I would only have one concert per MD. That would be unfeasible to do with hard drives and so having all the concerts in one basket could prove to be disastrous. That said, archives would live on two separate HD's anyway. However, there is another solution and it was the better way to go as I could achieve all that I seek using existing hardware.

The good thing is that the MZ-RH1 can still play. However, it cannot be used on a computer given that it still needs to be able to write to the disc, even if you're only reading from it. That causes system errors and has the potential to destroy the disc. My MZ-NH1, on the other hand, is still in perfect shape even after many recordings over the past three years. Of course, I'll still consider looking up Sony's spare parts for the MZ-RH1 if I can find them locally (fat chance in Australia but it's still worth a shot) but at least I have the MZ-NH1 to fall back on. I'm still thinking I should have bought another MZ-RH1 while I was in Tokyo but no matter.

So the solution ended up being the following:

* Buy the Sony PCM-D50. The reviews were all glowing reports compared to other units. The Tascam DR-1 was my first look but the specifications and the functionality were definitely not suited to my application.

* After dumping the recordings onto the computer from the PCM-D50, dump them onto a HiMD using the MZ-NH1 (as PCM if capacity allows, otherwise the highest possible bitrate in ATRAC3+).

My only gripe about the PCM-D50 is its size but that's a minor inconvenience. Again, I think I was spoiled by my MZ-NH1 and MZ-RH1.

I made another couple of discoveries a couple nights ago when I recorded a concert with it for the very first time since I bought it. For a start, the in-built microphones are amazing. I started experimenting with it on the support act and using the in-built mics with the 20dB attenuation switch on and having the unit sitting in its leather case, closed and hanging off my belt wearing my thick shirt over it, the unit still managed to pick up an exceptional sound albeit with a slightly muffled high-end, as to be expected through clothing!! The mics were set up in a long-range fashion with the mics crossed over at the 90 degrees setting. I was nothing short of amazed when I listened back to this result.

After realising that I still had the input switch set to the in-built mics, I set it up for the line input with no attenuation so that it would take the signal from my Core Sounds omnidirectionals. I'm still looking to upgrade to the DPA mics, however, this recorder has truly impressed me and given me a sound which I seriously believe is so much sweeter than my MD units. Set at 44.1kHz at 24 bit, the sound this thing has pulled in, from what is a pretty easy venue to record at given its half-decent room acoustics, is nothing short of spectacular. Now all that's left is for me to fix my desktop computer (waiting for a new motherboard to replace the dead one in there now) and do some post-production processing like I do with all my bootlegs. Long and short of it, when you do save up the money Guitarfxr, you just have to buy one dude. The audio stage has definitely proved its worth from both the line and mic pre-amps as well as the in-built mics themselves. I'll get you some samples (raw and processed) once I've got everything up and running again.

Edited September 29, 2008 by Artstar

[Strungup]

The Artstar is back ...........

[Artstar]

The Artstar is back ...........

You betcha and after listening to the raw recording of my first ever bootleg on the PCM-D50, I have to say, "Screw my MZ-RH1 and MZ-NH1. This is the shizzle!"

Now that I finally built my new computer system (after the last one suffered from a dead motherboard some 3 weeks after I first arrived in China), I can finally start working on the post-production processing. I'll send you a couple of snippets so you can get an idea, even though it's Bay Area thrash metal from Testament.

[srizvi1]

...Result , and conclusions : ... I need to get a VERY good wind screen for my AT-822 . Period , everything else was perfectly clear and dynamic

....

A little off-topic, but relevant to the post I'm quoting...

Guitarfxr and me have been going back and forth over PM about my recently purchased AT-822 (btw Guitarfxr, I shot you an e-mail recently as you requested). I was wondering on getting a good windscreen for both outdoors and indoors beacuse my used AT-822 didn't come with anything. I'm planning on using my AT-822 w/ my newly purchased Canon XH-A1. I just ordered the Shock mount I needed and the shoe adapter (that comes with a new AT-822, but unfortunately not the used AT-822 that I bought) from B&H photo and it should be here in a few days.

[Strungup]

You betcha and after listening to the raw recording of my first ever bootleg on the PCM-D50, I have to say, "Screw my MZ-RH1 and MZ-NH1. This is the shizzle!"

I guess that means You aint gonna sell it to me !!!

" As soon as I get done with the Olympics , I wont need this " I believe something Like that was said ,........

[LaFolia]

Well, I bought the DR-1, and I am very pleased. It's better than some of the reviews indicate. I didn't find some of the defects that Guitarfxr thought he detected.

First, the noise when shaking the unit appears to be nothing but wind noise. Some sound samples were posted earlier that were said to represent a bad contact or a bad ground. It was easy to reproduce the noise, just like they said, but the problem disappeared completely when I wrapped the microphones with a pair of socks. (I didn't have a wind screen, so I had to make do.)

Second, the internal microphones are well matched. I tested and found that they are matched within 0.8 dB. Here are the details. I generated white noise with Audacity and played it through a single, high-quality speaker. I pointed the DR-1 directly at the speaker, recorded 16-bit .WAV files and plotted the spectra for left and right microphones with Audacity. To eliminate problems with diffraction and room resonances, as described in the next paragraph, I moved the DR-1 continuously while recording, and recorded at three different distances. I copied the spectra to a spreadsheet and plotted the difference between right and left in dB against frequency. The average difference was 0.8 dB. The RMS difference (i.e., standard deviation) was 1.5 dB.

I initially saw some big differences between left and right at certain frequencies, but I found that the results depended strongly on the position of the microphones. By putting my ear where the recorder had been and moving it around a few inches, I could hear differences. To avoid this problem and to average out the irregularities I moved the microphones continuously during recording. I also tested the frequency response against a known microphone, but I don't think the results were reliable because that was before I fully appreciated the effects of position and directional characteristics. Keep in mind that this is a live living room, not an anechoic chamber.

The main disadvantage from my point of view is that there is virtually no stereo separation. I walked around the recorder with a sound source, but could scarcely hear a difference between right and left until at least 90 degrees off axis. Again I plotted the spectrum with Audacity, but I could hardly detect any difference between between right and left at up to 60 degrees off axis.

Looking at the bright side, it's very nicely designed and well built. The buttons and controls are handy and work well. It's nice that you don't have to remember to save a file when you record, so you don't lose recordings. The menus are fairly simple and well designed. You will probably need the manual for some things, but there is nothing difficult or complicated.

It's very handy for a musician, and I can recommend it. I recorded a concert inconspicuously with it laying flat in my lap. The crowd was quiet; neither crowd noise nor handling noise was a problem. The sound was actually quite good. Overdubbing is a little tricky, but I found the most difficult thing to be the short cords on headphones.

Edited November 26, 2008 by LaFolia

[jpoprock]

Well, looks like we're on our own on this one now! I don't have the unit but I can tell you the card must be FAT32 formatted, not NTFS, and in any event you can't write a bigger file than 2GB on it anyway (though you could write two files of about 2 gigs on a 4 gig card).

My card is for sure FAT32 formatted, and it still shows up at 2gigs, even though it's a 4gig card. But you said that no matter how big it is, it will show up at 2gigs only? And that you could write 2 2xgig files to it? How do you do that?

Thanks!

Jason

[Strungup]

UPDATE

The Tascam DR-07 , is a corrected version of most if not all my concerns with the DR1

The DR-07 , Doesnt have effects , but has a VERY good analogue limiter( NOT SOFTWARE LIMITER) on the front end . The Mics are nice , and the Quality of audio is quite good .

My Hat is off to Tascam for having taken the time to actually have a Rep speak with me , and get my Ideas . They fully Implemented the KISS theory on this one .

Dr-07 is getting daily use , and I have ZERO complaints , it just works . (Mic input is still a little weak , but I can fix that )

[LaFolia]

My card is for sure FAT32 formatted, and it still shows up at 2gigs, even though it's a 4gig card. But you said that no matter how big it is, it will show up at 2gigs only? And that you could write 2 2xgig files to it? How do you do that?

Update the firmware to version 2.

You will find that on the Tascam Web site, under DR-1/Resources. I just had the same problem, and it fixed it right up. Takes a minute or two.

[LaFolia]

The Tascam DR-07 , is a corrected version of most if not all my concerns with the DR1

???

The specs. are virtually identical. It looks the same except with some features removed and a tripod socket added. Are there other changes?

[Strungup]

???

The specs. are virtually identical. It looks the same except with some features removed and a tripod socket added. Are there other changes?

on the Dr1 , the Mics are not mounted to the Body , they float in a housing and the Cables to the mic elements are VERY THIN and as a result any motion ( Walking jostling , whatever ) gets translated as static in the recording because the wires move . The DR07 Mics are hard mounted , or they changed the cable in some way , because I can literally jump up and down with no static whatsoever , nothing .

Also , No effeccts like Reverb etc . in the DR07 , just clean recording .

Next is the Limiter , in the DR1 it is a Software Limiter , that comes AFTER the A/D converter , and the Preamp , so it doesnt help as much as it could

The Limiter in the DR07 is an Analogue Limiter that is ahead of the A/D converters and works VERY well . ( Beleive me I torture tested this spec)

Next the DR07 runs on AA Batts instead of a Lithium . And the Battery Life is Formidable ...... You can do as you please , and NOT worry about juice , it will be there .

The Inputs on the MD still win for external mic usage , an AT822 and the RH1 , are just simply perfect together . But no limiting , Nature Limit isnt needed , but Loud sources , a Limiter is a good thing to have .

[LaFolia]

on the Dr1 , the Mics are not mounted to the Body , they float in a housing and the Cables to the mic elements are VERY THIN and as a result any motion ( Walking jostling , whatever ) gets translated as static in the recording because the wires move . ...I can literally jump up and down with no static whatsoever , nothing .

As I wrote previously, I can jump up and down and shake it too, but I cannot duplicate your results. In your sound sample there was wind noise plus some "static". I don't get the static at all, and I don't get the wind noise either if I shield it. Perhaps you got a bad unit.

I have to say, I think it's unfortunate that the microphones do not rotate on the DR-07. It makes it difficult to record yourself, as you can no longer see the record level. Everything involves tradeoffs, but the connection seems to be good enough on my DR-1.

Also , No effeccts like Reverb etc . in the DR07 , just clean recording .

??? I didn't hear any problem. Make sure special effects are turned off on playback. It's easy to turn reverb on by accident. This is one feature I wouldn't miss.

Next is the Limiter , in the DR1 it is a Software Limiter , that comes AFTER the A/D converter , and the Preamp , so it doesnt help as much as it could

The Limiter in the DR07 is an Analogue Limiter that is ahead of the A/D converters and works VERY well . ( Beleive me I torture tested this spec)

Er, the DR-1 has an analog limiter, and I thought you liked it.

Analog Limiter

You do get MUCH smoother reaction to the audio coming in , it was very nice indeed.

The Limiter in the Tascam is Beautiful if you know how to set levels properly . Very clean.

I can add to this that I recorded a singing group and let them hear the result. The reactions were spontaneous and enthusiastic. One person just had to have one and will be buying it. It's a nice recorder.

Edited March 3, 2009 by LaFolia

[Strungup]

As I wrote previously, I can jump up and down too, but I cannot duplicate your results. In your sound sample there was wind noise plus some "static". I don't get the static at all, and I don't get the wind noise either if I shield it. Perhaps you got a bad unit

??? I didn't hear any problem. Make sure special effects are turned off on playback. It's easy to turn reverb on by accident. This is one feature I wouldn't miss.

Bad unit = Probably , but two in a row ( Tascam replaced mine )

Effects = You misunderstood , No Effects in the DR07 , means just that ....... there are none . DR1 has Effects (Reverb, Chorus, Flanger etc) , DR07 does not .

Glad yours is giving you what you need ,......... My requirements were different .

LaFolia ..... I know how to work an effects processor , that is all I will say here ..........

[LaFolia]

Oops, you're right, I did misunderstand what you meant about the effects. So that's solved. I know you know how to do this, but it's easy to miss a little thing like that, and who can remember everything that was written on 19 pages?

If there is a problem with the microphone leads, I don't know why they couldn't just have used a thicker lead, rather than disabling a useful feature. I'm thinking of an example. The AR turntable used a thin, shielded lead from the cartridge. That was thin enough not to disturb the tone arm, but thick enough that they could leave it exposed on the top of the turntable. It lasted more or less forever, and did not pick up noise. In the recorder they could even use a thicker lead. It just doesn't make sense to me that the microphones don't swivel.

Good call on the batteries, though. I assume that was your doing? If you record with a power supply, you're tethered to a cord, but with AA batteries you're not tethered, and you can be charging one set while you're recording. Plus, the power supply and cord are a lot bigger than an AA recharger. And power supplies are not completely quiet. They all add at least a little bit of noise.

Edited March 3, 2009 by LaFolia

[brassmaster3000]

???

The specs. are virtually identical. It looks the same except with some features removed and a tripod socket added. Are there other changes?

the dr-07 eliminates the overdub feature, correct? is this the only feature removed?

[LaFolia]

Correct. Special effects are missing, and some others. The Tascam Web site seems to describe it pretty well.

[stevenrowat]

Hi,

Thanks to all for the great thread! I read all 19 pages.

A question important to me:

Can the DR-1 MONITOR the effects but still record the DRY signal?

In other words, I want to hear the effect while I'm playing, but not have it end up in the recording.

I play a custom slide instrument and like to hear reverb (and delay, when I can get it also) while I play. However, I'd like the option of putting in a better quality reverb, and changing the levels, during mix later.

Can the DR-1 do this?

In fact, ideally, I'd have the DR-1 record the dry track and the wet track separately so I could mix them later...but I guess that's really beyond what I should expect.

s.r.

[Strungup]

Hello fellow Slide player , I think the new software update will allow that , but what you should do is go to the Tascam site , and download the Manuals and read them first ( Europe Tascam , Us Tascam will let you download free )

[stevenrowat]

Hi Long Thread Readers,

Thanks for the tip GuitarFxr, and I went and read the 2.0 update and the original manual in the Europe Tascam site.

Unfortunately, I still find it ambiguous: after the 1.10 update, it says effects can be added either to INPUT or PLAYBACK. It doesn't say whether "Monitoring" is the same as playback in this regard, and to be on the safe side, I'll assume it isn't. In other words, that the answer to my question is NO, that effects can't be monitored while recording without laying them down into the recorded track.

I also noticed that there's a DR-100, that I hadn't seen before, with some new features (2 types of built-in mics, etc.).

And in both the DR-1 and the DR-100, Audio Specs only give a S/N ratio for line in, a respectable 90db. Funny how they omit this for the built-in mics. I'll assume because it's terrible and it makes them feel embarrassed when they see it in print. :-)

s.r.