recorders 2013

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RECORDERS

2013

THE INTERNATIONAL

BUYERS GUIDEA S P E C I A L P R O M O T I O N A L P U B L I C A T I O N

F R O M T H E N E W B A Y M E D I A G R O U P

INTERNATIONAL ED IT ION

AUDIOMEDIA

PRODUCED BY

In association with:

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FouR good REAsoNs whY You'dNEvER wANT To usE A CoMPuTER

AT A LIvE show

Multi-track technology for the 21st century

tel: +44 (0) 1223 911 000

[email protected]

www.joeco.co.uk

BLACKBOX BBR64-MAdI RECoRdER

Designed for a range of applications requiring the capture of multiple channels of live audio material with minimum fuss,

including Live Music, Broadcast, Film & TV Sound.

64 channels in one rack unit!

Audio recorded direct to external USB2 drivein BWAV format

USB drive plugs straight into workstation forinstant editing, mixing and post production

BLACKBOX BBR64-dANTE RECoRdER

Designed for capturing multiple channels of live audio material via Dante network.Applications in Live Music, Broadcast, Film & TV Sound.




BLACKBOX BBR1 RECoRdER

Unique technology lets you capture live multi-channel audio without taking a computer or DAW to theperformance. Robust, rugged, rack-mounted and ready to record.


Analogue and digital i/o options



BLACKBOX PLAYER

Dedicated multi-channel playback option specifically designed to replay backing tracks and multiplesurround stems for live shows and themed entertainment.

24 channel playback in one rack unit!

Analogue and digital i/o options

Synchronous playback to timecode

Available as plug-in for BlackBox Recorder

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c on t en t sWelcome to Recorders 2013, an internationalBuyers Guide. Weve been busy rooting aroundthe professional recorder ranges to bring you ahealthy stack of options in the recorder genre.

This publication is a collection of promotional articles lookingat six of the worlds leading recorder manufacturers and theirproduct ranges. Inside youll find the stories behind the gear the ethos and design ethics that go into producing oneof the key components in professional audio and plenty

of info on the products themselves. In addition weve collateda directory of professional recorder manufacturers andcommissioned an article that takes a fresh look at the basicsof the audio recorder world.

Even through the rise of the DAW, the need for reliable,high quality, and feature-rich recording devices has nevergone away as confirmed by the recent peak in new models,especially for the location recordist and audio journalist.New media types have accelerated development and nowyou can choose CD, hard disk, DVD, and solid state types tosuit your needs and your budget. Theres also a vast array ofaudio file formats to handle, each one bringing the benefitof choice in data economy, audio quality, archive suitability,and more.

Even newspapers and other print-based media are findingthe need for suitable recording devices now that podcastand multimedia channels are becoming a necessary part ofeveryday content provision.

Are you a Foley editor? Are you a production recordist?Are you a new media journalist? Are you a broadcastprofessional? Are you a sound designer? All of these rolesand more require the best in recorder technology to makeyour job easier and your results better. Do you know whatfunctions, facilities, and frills are available nowadays?Wouldnt you like a large choice put right in front of you,rather than starting your hunt through the normal myriad ofsales and dealer channels?

This guide is the place to star t your recorder shopping

spree. This, and the other Buyers Guides in the series (Monitors,Microphones , Consoles, Live Sound Technology, Live Sound

Applicat ions , and DAWs) are Audi o Media projects, designed

to help you find your way though the information explosion

and find the product that suits your needs. Audio Media is an

internationally distributed magazine that deals with professional

audio production in film, TV, radio, music, games, and on stage.

Its available in both print and digital editions . For more details,

go to www.audiomedia.com.

The NewBay Team

Sales Manager

Graham Kirk

[email protected]

Editor In Chief

Paul Mac

[email protected]

Editorial Manager (Europe)

Lanna Marshall

[email protected]

Design & Production Manager

John-Paul Shirreffs

[email protected]

AUDIO MEDIAwww.audiomedia.com(UK) Tel: +44 (0)1354 669960 - Fax: +44 (0)1354 669965

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether

mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure

accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or

any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers

accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.

2012 NewBay Media. All rights reserved.

www.nbmedia.com

4 Portable Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8 AETA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10 Mayah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

14 Roland Systems Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16 Sound Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18 Yellowtec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

20 Zaxcom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

22 Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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In my day Ive recorded on location using

Nagra reel-to reel tape recorders, Walkman-

style cassette recorders, portable DAT (Digital

Audio Tape) machines and, on one memorable

occasion, I captured the performance of retired

members of the BBC big band on a Sony PCM

F1 system connected to the noisiest Betamax

recorder in the world. These portable systems

often had several things in common they were

actually not that portable and usually needed

external microphones or mains power supplies

to achieve anything like acceptable results.

The advent of direct to data recording means

that the current crop of portable systems are

well more portable and, just as

importantly, means that even

the least expensive systems

can produce high quality

recordings and cope withthe longest performances.

Back To Basics

There are many portable/

location recording devices on the

market and the range runs from

extremely inexpensive dictaphone-

style stereo recorders to rugged multi-

channel devices designed for capturing

audio for music, film, and television on set.

As is often the case, higher cost usually brings

higher quality, and, with regard to portable

recorders this often results in improved on-

board microphones and their pre-amplifiers,

high quality headphone amplifiers, and better

build quality which is extremely important

if youre going to be performing mission

critical recordings in

challenging locations.

However, some of

the least expensive

recorders are stuffed

to the gills with bells and

whistles, and many feature multi-

microphone and multi-track capabilities,

along with the ability to work at high sample

rates and generate 24-bit files.

Apart from being able to be easily

transported to the recording location, there

are several features that all portable recorders

have to have to be truly useful in the field.

Solid state drives mean that the power

consumption of the audio capture parts

of the device is usually pretty low,

so standard batteries are usually

useable and many come withbuilt-in rechargeable cells

that can provide hours of

recording time. Audio is

relatively meagre in

its demand of drive

space, so multi-

gigabyte Secure

Digital (SD) or

Compact Flash

(CF) cards

or hard drives

can capture hours

of stereo or multi-track

audio direct to data in various

audio formats including MP3. Off-loading your

recordings is then a simple matter of connecting

the device via USB to a computer, or popping

out the card and inserting it into your Mac or PC

either directly or via a dedicated card dongle.

The most basic systems offer just

two-track stereo recording and utilise in-

built microphones, usually in an X-Y

configuration, and record directly to

SD cards. Others can record at up

to 96kHz sample rates and often

feature a 3.5mm stereo jack

input for connecting externalmicrophones many of

which provide power for

condenser and back-electret

devices. Characterised by their

extreme

portability,

these devices are

useful for interviews and in discrete

location recording. Ive been extremely

impressed with the results from the Zoom H4n,

Olympus LS5 and Tascam DR07 recorders when

used to capture both music and environmental

recording. One common characteristic of the

least expensive recorders is that they often

rely heavily on screen menu-based systems to

access their often-sophisticated feature set and,

because of their small size, its not always easy

for aging eyes to navigate the menus.

Once set up though, level and transport buttons

are usually easily accessible although making

changes to sample rate and file formats could

prove frustrating when the pressure is on.

These recorders often feature auto recording

start after a set level threshold is reached,

file editing, built in compressors, limiters, and

automatic level control (ALC shades of myold Phillips cassette recorder there!), which can

be extremely useful when youre capturing

unknown sources.

Some of these devices dont only do

audio; the Zoom Q3 is actually a pretty nice

HD video camera hitched onto a high-quality

stereo recorder. I often capture lectures and

performances with the ALC switched on and Im

always impressed with the audio quality such a

simple set-up can produce. The Zoom H2n allows

you to record in several modes, XY stereo, two-

and four-channel surround, and in Mid-Side, all

wrapped up in a small lightweight package.

Speaking of weight, quite a few low cost

recorders suffer from handling noise issues,

but I find that screwing in an inexpensive

tabletop tripod and using it as a pistol grip

solves this problem.

4 PORTABLE RECORDERS

Portable Recorders

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2012 TEAC Corporation. All rights reserved.

All specications are subject to change without notice.

TEAC UK Limited

Suites 19 & 20, Building 6 | Croxley Green Business Park | Hatters Lane | Watford | Hertfordshire WD18 8TE | UKSouthern Area Sales Manager: Alex Farrell | Mobile: 07779-795656 | Mail: [email protected]

Northern Area Sales Manager: Russ Fitton | Mobile: 07836-329281 | Mail: [email protected] | www.tascam.co.uk

Even more Portastudio than ever beforeDP-32: The 32-track luxury class among Portastudios

DP-03

8 tracks + stereo master track on SD/SDHC card, built-in stereocondenser microphone, 2 XLR inpu ts with phantom power, reverbprocessor plus mastering effects, CD burner for mastering andbackup

DP-24

24 tracks on SD/SDHC card, high-co ntrast LC colour display, dynamicand send effects, dedicated controls for direct access to EQ, panoramaand effect send channel, CD burner for mastering and backup

32 audio tracks (8 mono, 12 stereo), best-take functionwith additional virtual tracks, 40 channels during mix-down (32 playback channels + 8 input c hannels), dynamicand send effects, mastering effects including EQ, compres-sion and normalisation, CD burner for mastering andbackup, intuitive ease of operation

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Some recorders, such as the Zoom H4n,can record two channels via their internal

microphones while simultaneously capturing

two more via their XLR inputs. The H4n can

also act as a multi-track recorder, Mid-Side

decoder, and can also be used as a basic USB

audio interface with a computer. The Zooms

microphones are set in a close X-Y configuration

that attempts to limit any phase issues when

recording, while the Tascam DR40 offers a novel

microphone set-up that allows you to move

the microphones from a X-Y to an A-B setting

and it also has a four-track capability and

XLR microphone inputs. The Roland (Edirol) 09

builds on the successful R-1 and R-2 recorders

and provides most of the features weve come

to expect from these devices,

but in an extremely compact

package and it also comes

in red!

On Set

Move up the food chain

and portable recorders

start appear with two

extremely useful features;

XLR microphone inputs and/

or better ergonomic design.

The aforementioned Zoom

H4n is extremely popular with

both environmental recordists

and on-set sound engineers

and, consequently, theres

a large add-on industry that

has built up around the device. These include

professional windshields, and my favourite

accessory: a box that slips into the Zooms XLR

inputs and provides connection and power for

my DACS binaural microphones. Devices such

as the Tascam DR100 offer choices of onboard

microphone type (X-Y and omnidirectionalin the Tascams case) as well as XLR inputs,

but also all of the main controls for input/

microphone selection, level range, phantom

power, and transport controls available on

dedicated buttons which I find extremely

important in any situation

where peering at tiny

menus might be an

issue. In my opinion,

the microphones

and pre-amplifiers on

the DR100 are also

significantly better than

those on the really low

cost devices, as are those on the Marantz

PMD661 and Olympus LS100 and the

Sony PCM D50 the latter havingthe advantage of two microphone

pattern choices. Adding all these

dedicated controls inevitably

increases the size and weight of

the device and most would need

very big pockets for transport, so

youll need to use a carry case

for them. But the advantage that

this increase in size brings in is

in low handling noise levels, ease

of use, and a feeling of quality

that might have the unexpected

consequence of increasing the

confidence your director has in

your abilities!

Professional

recordists will find that

the most important features on

their portable recorders will be

clear metering, dedicated controls

for setting for record and playback

levels, along with other controls

for useful day to day functions

such as transport and limiting.

Also important is a high-quality

headphone output, and physical

reliability and ruggedness.The Nagra LB is a two-channel

digital recorder that takes this

philosophy and runs with it.

Built into a case that would

survive being run over by Steven

Segal in a Boeing 747, its a

two-channel recorder with a huge, easy to

read colour screen, dedicated

controls for the most useful

functions, XLR inputs and

outputs, and high capacity

rechargeable battery

capabilities. However,though this machine has

a single built-in electret

microphone, its really

designed to be used in

conjunction with your DPA

or Sennheiser microphones on location. This is

a trend that we see in the higher-end portable

recorder market, and one which makes a lot of

sense as youre unlikely to be able to mount

the recorder itself near the source and will

usually be using a boom or radio microphones.

The Sound Devices 702 also exemplifies this

philosophy and is housed in a thoroughly

rugged case and features a high resolution

LED display, clear metering, and dedicated

controls for the most used functions.

Sound Devices microphonepre-amplifiers are amongst the

best in the business, and what

youre effectively getting here

is a set of boutique-grade pre-

amplifiers coupled to a solid

state SD card-based recording

system. The T version can also

handle timecode, while the 722

model records directly to a hard

drive I predict though that

the boundaries between HD

recording and SD and Compact

Flash recording will blur in the

future with manufacturers

moving to Solid State Drives (SSD)

when ultra-long or multi-channel

recording times are needed.

Speaking of Compact Flash, Tascam (which

arguably started all this recording to card

malarkey in the first place) produces the SS-

R200 rack mount stereo audio recorder that,

apart from utilising the aforementioned storage

method, is a high quality audio recorder with

brightly lit chunky transport buttons and clear

metering and display perfect for use next to

a console on a dim stage. Apart from balanced

analogue and digital inputs and outputs, theSS-R200 accepts an IBM compatible keyboard,

and a dedicated Tascam remote is also

included. Unusually, there are also RS232 and

parallel interfaces for direct computer control

of the device. On lifting the Marantz PMD 671

out of its box I was overwhelmed by a strong

sense of nostalgia for my old portable compact

cassette recorder from the same company

6 PORTABLE RECORDERS

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that had accompanied me throughout my

fledgling recording career. The PMD 671 records

to Compact Flash cards of course, but in other

ways its similar to its mechanical predecessor

with its chunky dual concentric input level

controls and functions that are easily accessible

when slung across the shoulder. Also, like its

cassette-based ancestor, it features a speaker for

on-site playback while its professional nature is

emphasised by software based features such as

Edit Decision List (EDL) and Broadcast Wave ID

tagging. While the aforementioned devices are

complete solutions, if you wish to simply record

stereo audio on location, Zaxcoms ZFR series

are tiny Timecode based SD recorders that can

be used, for example, where wireless reception

to the main recording rig is poor or you need to

capture audio remotely and unattended.

Back To Multi-track

If you want to capture a multi-track of a live

band or you work in film or TV production,

youre going to need more recording channels.

If youre on set, you might be recording several

channels of audio from actors and also have

to capture environmental atmos tracks.

While many experienced engineers use portable

mixers to produce audio pre-mixed for the dub,

most will want to generate separate stems for

at least the main actors on set. Most of the

features and capabilities that youd need for

location stereo recording will also be needed

for multi-track apart for the need for internal

microphones, as these recorders are usually

going to be used with fixed mics or wireless

systems. Tascams DR-680 is, effectively, six

DR-100s in a neat portable package intended

to be slung over the shoulder. Six microphone

pre-amplifiers (four on XLR, two on TRS) are

found on

the side and

dedicated

controls for

input type,

phantom

power

and menu

controls lie

on the top of the unit, while the LCD screen/

meters and chunky transport are on the front

(or top when its in use.) The DR-680 recordsto six mono broadcast WAV files and generates

a stereo mix automatically so you can get a

rough off to your dub engineer right away.

Its big brother, the HSP82, is a thoroughly

professional machine with a price tag to match.

Recording eight channels at up to 192kHz

on to dual SD cards (for back-up,) its light yet

rugged aluminium case can be run off

multiple power sources, and it can accept

timecode and word clock sources.

Nagras VI is an eight-channel (four

mic, two line, two mix) unit that

brings the companys renowned

audio and build quality into the

multi channel portable recorder

market. It records to an internal

2.5-inch hard drive, and a

copy can be streamed to

the internal Compact Flash

card for back-up and

transfer. Features such as

the crackle free digital

encoder system mean that

it should perform reliably

in any environment, and

the recorders ability to chase

timecode enables it to slip in nicely in any filmor TV production facility. Sound Devices 744T

is a timecode enabled four-channel multi-track

recorder that captures audio on hard drive,

Compact Flash, and external Firewire drives or

any combination of all three for redundancy

and, as the need for power is everything on

location, it can utilise standard Sony camcorder

batteries. The two microphone inputs are of the

quality to be expected from Sound

Devices, while the

two line inputs

could be used

to add an

external sub

mixer. If you need

more recording

channels, the 788T expands

of its siblings capabilities with up to twelve

channels of audio including a stereo mix track

and two aux stems, along with the capability

to handle AES42 standard digital microphones.

Zaxcoms range of portable multi-track recorders

combine high quality internal mixing with

dedicated faders alongside multi-track recording

to Compact Flash cards. The Deva series are

ten or sixteen channel units with up to twelve

microphone/line inputs and multi-channel digital

outputs. Unusually, the Deva units feature

compressors, EQ, and delay on each channel,

reducing the necessity for an additional mixingdesk. The Nomad series are dedicated recorders

for example, the Nomad Lite is a ten-channel

unit that also features DSP effects, internal

mixing, and is capable of sending up to three

stereo mixes to up to five outputs which might

be to cameras on set, for example, while the

Nomad 12 is, well, a 12-channel system. All of

Zaxcoms recorders come

in small, light packages

with all controls easily

accessible. The Zaxcom

Maxx is an example

of the innovation

flourishing in the market

and consists of a four-

channel audio mixer,

RF transmitter, recorder,

timecode reader/generator,

and visual timecode slate all

in one small package.

Conclusion

The portable recorder market

is a mature one, with fierce

competition in the mid to low

price sectors which inevitably leads

to the development of innovative features,as each company tries to stand out from the

others. These range from the capability to

record using multi-microphone patterns, to

other more musician- and journalist-friendly

capabilities such as multi-track recording, tuners,

and automatic level controls. When we get

up to the more professional segment of the

market, there are still several well respected

companies vying for your interest, all of whom

are producing machines capable of delivering

multi-channel audio reliably to your dubbing

engineers on a multi million pound feature.

Weve come a long way from clunky tape

machines and even clunkier direct to video

tape digital systems of the past, and the

manufacturers of the current range of portable

recording devices dont look like theyll be

running out of ideas any time soon.

THE INTERNATIONAL RECORDERS BUYERS GUIDE 7

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Born out of the desire to meet new workflows for

engineers, this compact and lightweight mixer-

recorder benefits from 20 years of AETA Audio

Systems expertise in high quality analogue and

digital audio design.

The 4MinX brings new solutions, power,

and flexibility, without compromising on the

essential needs of field recording: autonomy,

audio quality, and user-friendliness.

Whether broadcast or media industry

(documentary, film, music), the 4MinX opens

new possibilities for production in different

specialities. Combining the features of a multi-

track recorder (two to eight tracks) and portable

digital mixer, the 4MinX is ideal for stereo as well

as multi-channel productions.

Audio

Through its superb audio performance, the

4MinX is ideal for the most demanding sound

recordist to showcase their work.

It combines 10 inputs (four Mic/Line, two

lines, four digital channels AES3/AES42) and 12

outputs (six analogue channels and six digital

channels AES3).

Digital inputs also support AES42 for digital

microphones (10V phantom power) without

degradation. Gain/Trim/Filter controls are

available on each channel in both analogue and

digital modes.

AETA AUDIO is renowned for producing high

quality mic preamplifiers. The 4MinX remains

true to this reputation, and even offers the

user an improved mic pre-amp audiospecification:

Maximum overall

gain: 92 dB useful for

dynamic and ribbon

microphones

Four Mic/Line transformerless inputs very

low noise (-128dBu) but with great flexibility of

trim and excellent headroom (input headroom:

40dB, independent of input stage gain).

It is suitable for all types of sound production,

from standard mono, through stereo (X/Y or

fully-featured M/S) to surround (A or B formats

from our SoundField partnership, or Double M/S)

Designed To Be Robust, Easy To Use,

And Open For Future Features

The construction uses a stainless steel chassis

and carbon-fibre loaded polymer casing, to

give both lightness and durability. The result is

surprisingly lightweight at only 2.1kg including

the on-board battery!

The design allows the unit to be used safelyin extreme conditions (heat, cold, high humidity,

shocks). The 4MinX is fully shielded against

radio interference, and the casing has better

resistance to denting and damage than heavier

conventional metal structures.

Navigation of the menus is by a rotary

encoder (thumbwheel) on a superb 3-inch TFT

transflective display, and offers a simple, fast,

and readable user interface. Multiple buttons

allow direct access to assignable functions.

The hardware already includes interfaces

(USB, Ethernet) to implement future features:

MIDI device, transfer audio... and, since software

can be improved and rewritten, the 4MinX is

future-proof.

With its scalable and up-gradable

design, its flexible monitoring and

routing capabilities, the 4MinX is ideal

for almost any situation from TV/filmlocation sound recording to music

recording. With six hours operation

from its on-board battery, the 4MinX

is remarkably lightweight and features

high-end preamplifiers, as always,

from AETA Audio Systems.

4MinX: Mixer/Recorder DesignedFor The Most Demanding

8 PROMOTIONAL FEATURE

+ A E TA + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + +

7/30/2019 Recorders 2013

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Power Management

The new lightweight 4MinX allows you to work

on location for more than six hours with its

rechargeable standard DV Li-Ion battery (NP-F).

This type is commonly used with Sony cameras.

A spare battery will double this time.

The DC input allows the 4MinX to be

powered from an external battery (NP1 or

alternative): it is also possible to recharge the

internal 4MinX NP-F battery at the same time.

The 4MinX can switch automatically between

power sources without interrupting recording.A robust and optimised power supply has

been designed for the 4MinX, to provide up to

15 Watts for your peripherals.

A Neutrik MiniCON 12-pin

connector (located on the left

side) offers two additional

line outputs for wireless TX

to camera, to the presenters

earpiece, etc. Receivers and

transmitters can be powered

from the 4MinX through this

connector; up to 6 Watts of

consumption.

Recording

The 4MinX uses an Ambient

Recording Time Code module

highly regarded within the

industry and used in ARRI

cameras to provide high-

accuracy LOCKIT TC.

The time code module can

be used as a TC generator (all

video formats supported) or

as a receiver to synchronise

the 4MinX to any TC source.

Sophisticated projectmanagement makes it simple

to handle multiple recordings.

The multi-track recorder on

SD/SDHC card can extend to

eight tracks, with background back-up on

external USB disk. More than 15 hours of

eight-track/96kHz/24-bit recording can be

held on a 128GB SDHC card.

When you record with the 4MinX,

you dont record directly to tracks but

create self-contained files that hold one,

two, or more tracks depending on the

selected configuration. With the 4MinX

it is possible to simultaneously record

two stereo microphones on two different

stereo files, for example.All recordings are done in

BWF (Broadcast Wave File) format.

BWF metadata in

iXML format can be

managed directly

on the 4MinX and is

compatible with most

post-production software.

The availability of an

optional USB keyboard

simplifies metadata

management.

A complete project

management system

satisfies the needs of the

most demanding users

and generates sound

report files automatically.

Flexible and Powerful

To design the 4MinX,

we were not afraid to

re-write the rulebook in

order to offer you more

power and flexibility.

The routing capability

for each input andeach output gives the

user a completely free

hand. A 4MinX user can

set a specific interface

and adapt it to their own preferences

regarding inputs and outputs.

Apart from the record sources

that you include in each file,

the 4MinX offers additional

powerful and detailed

routing, enabling the

user to define what is

sent to mix busses,

and to analogue and

digital outputs.

No need to go back

into the menus personal

configuration snapshots

allow complete flexibility of settings, and are

simple to use. They give total freedom and users

can save up to eight snapshots.

With an optional 10-pin HIROSE socket, it is

possible to handle camera return and dedicated

communication circuits.

Pricing

The 4MinX price is very competitive.

With 4MinX you pay only for what youneed, and what your budget can afford.

The 4MinX is an evolutive product, allowing

you to upgrade at any time after purchase.

You can upgrade your 4MinX from two to eight

tracks recording, or add Soundfield monitoring

with just a software upgrade, thus avoiding any

return to the factory.

AETAs 4MinX was given an award for

technological innovation by SATIS Trophies

2011 in France for its compactness and future-

proof technology.

About AETA

AETA Audio Systems is French, and

a leading international developer

of portable sound recording units,

mixers, and advanced audio codecs,

optimised for any kind of media and

transmission infrastructure. Made by

AETA is a synonym for high quality

and investment protection.

From its very beginning in 1978,

the company focused not only on

developing innovative products, but

also on making them as small as

possible allowing for mobile use and

easy handling. They have acquired

a considerable reputation in the

audio field.

Some references:

1999: PSP3 Stereo Pre-amp

2000: MIX2000 four channel

portable mixer2007: MIXY three mic/line stereo

mixer

AETA Audio Systems

18-22 Avenue Edouard Herriot

Parc technologique Kepler 492350 Le Plessis-Robinson FRANCE

www.aeta-audio.com

t +33 1 41 36 12 00

F + 33 1 46 36 12 69

e [email protected]

ecorders 2013

A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + + + A E T A + + +

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+ M A YA H C O M M U N I C A T I O N S + + + + M A YA H C O M M U N I C A T I O N S + + + + M AY A H C O M M U N I C A T I O N S + + +

MAYAH develops technologies aimed squarely at

broadcast and high-end audio production users.

The Munich-based firm are specialists in problem

solving for broadcasters for example by

developing systems like Flashcast, which allows

different codecs (in fact almost all proprietary

systems) to recognise each other automatically:

a godsend in the cut and thrust of broadcasting

and newsgathering.

The company has also been developing

innovative hard and software products for

in-house streaming, web radio, ISDN, other

broadcast networking applications, and digital

handheld recording. The original MAYAH

Flashman recorder was one of the original

small, solid-state machines favoured by radio

journalists the world over.

One of MAYAHs latest developments is the

Impload Triple R, Rapid Remote Recorder. This is

a system that allows remote audio recording via

the Cloud (online) with the key feature being the

low latency, or delay, of the playback.

Studios and production facilities often

need quick performer inputs from contributors

and performers being situated in very remote

locations, away from the studio. In the past the

only solution has been to bring in the musician

in a costly and time consuming way to obtain

what is often just a few bars of music.

With TripleR it now becomes much easier,

less expensive, and far quicker to let the

performer work from his home base or another

studio location somewhere on the globe. TripleR

combines the transmission of audio and also

simple MIDI control through the Cloud.

The performer can listen to live playback

from the production software with a minimum

of latency. By choosing the open source edge

technology Opus codec algorithm, audio is sent

through the Cloud with a minimum of latency

and stunningly high quality.

This is the first product of its kind to offer a

MIDI control data transfer, together with the

edge technology codec algorithm Opus.

TripleR is also a fully

operational PC audio board,

with all controls not only

accessible through the browserbut also with a full set of front

panel controls:

Gain Control

Mic/instrument input

level

Phantom Power

Pad-Headphone Volume

TripleR also features the

following I/Os:Rear Panel:

Balanced 6.3 analogue in

(Left/Right)

Balanced 6.3 analogue

out (Left/Right)

USB to PC

MIDI In/Out

AES In/Out

USB device link

MAYAH is a world leading designer

and distributor of high-end

equipment for broadcast and

audio/video production.

MAYAH Communications GmbH World Leading Audio Technology

10 PROMOTIONAL FEATUREPhoto: Cameron Whitman, 2010.

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corders 2013


A YA H C O M M U N I C A T I O N S + + + + M A YA H C O M M U N I C A T I O N S + + + + M A Y A H C O M M U N I C A T I O N S + + + + M

Front:

Combined XLR/balanced 6.3 jack socket

2x Headphone out Level Control

Mixing Control

Mic/Line Switch

Phantom Power

Mic Pad

At the heart of TripleR is the OPUS audio codec,

which runs with an extremely low latency

without sacrificing sound quality. This allows it

to be used for musicians to play together for a

session, a recording, or a production. The audio

will be in both directions, from the studio to themusician and from the musician to the studio in

excellent quality and via regular Internet access.

TripleR is not only capable of transmitting

live streaming audio, but also MIDI control data

between contributors and studio. The transport

goes in both directions. Audio is sent from the

production site to the musician who will play

a MIDI device and use the Impload TripleR to

transmit this control data to the studio.

Centauri IV

Centauri IV is MAYAH Communications new universal scalable audio codec with up to 64 freely configurable audio channels. As a combined

breakout box and audio interface, all MADI and AES devices currently on the market can be used.

It is the fourth generation of Centauri audio codecs, the result of fourteen years of development across the codec line that has proved highly

successful around the world.

The Centauri IV supports the most relevant industry and EBU standard audio coding formats, from Opus to Linear. It is one of the worlds only

unique codec devices designed to support the new open source Opus codec algorithm.

MAYAH Communications is also highly renowned for high-end device features, such as:

Standardised Protocols

Automatic Jitter Buffer

Error Concealment

FEC

Remote Control

The MAYAH Communications Centauri IV is

the first of its kind to demonstrate such powerful

features in such a compact form at a competitive

price point.

MAYAH Communications C10 & D10

Along MAYAH Communications developments, the C10 is designed as an economically low budget audio codec, but still fulfilling the high

expectations of todays broadcast industry. C10 is also equipped with the newest codec algorithm Opus, featuring the same high qualityproperties as all the other MAYAH devices

The C10 is manageable by a highly intuitive remote

application, and is able to work with various other codec

formats besides Opus.

For receive-only purposes, the D10 (which looks the

same as the C10) is a receiving-only audio codec.

MAYAH Communications GmbH

Am Sldnermoos 17

D-85399 Hallbergmoos, Germany

t +49 811 5517 0

f49 811 5517 55

e [email protected]

MAYAH Communications U.S. Office

North American Business Development

Bellingham, WA

United States

t +1 360 618 1474

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Uncompromising sound quality and portable

recording versatility have been the hallmark

of the Olympus LS range since its inception.

Now, the new LS-100 has gone furtherto provide musicians and broadcasters

with a state-of-the-art tool enabling

convenience of studio-grade, multi-track

audio recording just about anywhere.

Furthermore, this impressive mobile

recording studio is capable of

handling a maximum sound

pressure level of up to

140dBspl.

As with its cousins in the

LS-family, the new LS-100

delivers ultimate sound

recording quality in

uncompressed 96 kHz/24 bit

Linear PCM splendour. This

extreme audio quality has now

been amplified with eight-track

recording and overdubbing

capabilities to turn sounds and

individual tracks into completecompositions - all within the palm

of the hand.

Besides its integrated stereo mics, the

LS-100 also features dual XLR/Phone combo

jacks to facilitate the direct connection with professional

external microphones or other musical equipment.

The durable and compact Olympus LS-100 Multi-Track

Linear PCM recorder bestows musicians and broadcasters

a high performance, mobile multi-track recording studio to

fulfil all their needs - from a single track to a complete

composition - boasting highest possible audio qualities.

LS-100 MULTI-TRACK LINEAR

PCM RECORDER - MAIN

FEATURES:

Record superior quality sound

Connect to professional audio

with XLR

Built-in sound on sound multi-

track sequencer

L/R independent recording

Recording Studios

that fit in your pocket

OLYMPUSLS-100MULTI-TRACK LINEAR

PCM RECORDER: HIGH PERFORMANCE,

MOBILE MULTI-TRACK RECORDING

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To see the complete LS range and full features,please visit www.olympus.co.uk/consumer/ls-seriesor email [email protected] for details

The LS-100 joins the

recently launched

LS-3 and LS-20 to

offer a complete

range; The LS-3 is

the smallest,

slimmest linear

PCM LS recorder

to fit in your pocket

and capture sounds

and riffs on the go.

Capture your demos, interviewsand gigs in high-quality audio

LS-20MHD SOUND AND HD MOVIE

LS-11AUDIO

RECORDER

LS-3SMALLEST

& SLIMMEST LS

RECORDER

The LS-20 offers

the ability to also

shoot HD movies to

accompany your

HD sound, the

added full HD

movie at 1920 x

1080P (30 fps) with

image stabilizer

allows you to live

life on a film set

ready for action.

The LS-11

can record

.wav filesas high as

96 kHz/24 bit,

as well as MP3

and WMA files

in a range of bit

rates.

It comes with

8 GB of internal

memory which

can be expanded

through the use of SD

cards and includes an

infra-red remote control,

and Cubase LE software.

LSIS MoreWhatMusicians,journalistsand

podcastershave been waiting for

LS-20

MAIN FEATURES:

Record superior to

CD quality sound

Shoot incredible full HD

movies with magic movie effects

Movie image stabilisation

reduces camera shake

PCM (WAV) and MP3

recording/playback format

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R-88 Portable Recorder and Mixer:

Eight Tracks and Two Channel Recording

Capability

This new multi-track SDHC/SD card recorder with

eight-ch XLR inputs/outputs has the recording

capability of eight tracks + two channel

stereo mix at 24-bit/96kHz, or four tracks at

24-bit/192kHz totally uncompressed recording

of broadcast wave files assuring outstanding

sound quality with

selectable bit depths

(16-bit or 24-bit), and

sampling frequencies

(44.1kHz/48kHz/88.2kH

z/96kHz/192kHz).

The R-88 has eight

XLR inputs, each with

phantom (+48V)

and onboard effects

including limiter

and low cut on each

channel. The built-in

limiter helps deliver

a stable and reliable

recording free of

clipping noise from

sudden input surges,whilst the low-cut filter

is included to help

prevent things like wind

noise or mic handling

noise, both greatly

improving the audio quality.

SDHC/SD Card Recorder

The R-88 uses SD cards or large capacity

SDHC cards as the recording media, enabling

easy transfer of data to PC or post-production

hardware. Connecting the R-88 to a PC/Mac is

easy, either using the R-88 as a removable drive

to transfer audio files, or using the dedicateddriver as an audio interface. The USB AUDIO I/F

feature means that the R-88 can also act as an

audio interface to a computer (PC or Mac) when

connected by USB, appearing to audio software

on the computer as 10 individual inputs and

eight individual outputs.

On Board Mixing Capability

The on board mixing capability with fader, pan,

EQ, and two channel mixing allows the user to

mix as well as record. Studio class effects such as

three-band EQ, six-band GEQ, enhancer or de-

esser can be used as tools to perfect the audio

quality of the recordings.

Effects can be applied while

recording or simply for

monitoring/playback.

Fully Compatible with SMPTE

Timecode

The R-88 is fully compatible

with SMPTE timecode, and can

act as slave (with timecode

regeneration on the timecode

out), or as master to enable

a fully synchronised video

workflow. Further workflow

aids are included such as Slate

facility from onboard mic for

memo recording or Slate tone

(1kHz/-20dBFS), and a jackinput, which allows control

of play, record, rewind, and

more via optional or dual

footswitches.

The USB host terminal of the R-88 enables

high speed and instant back-up of recorded data

to affordable and easy obtainable media like

Flash memory, memory cards via card reader, or

HDD storage. Easy and high-speed duplication of

recorded data improves production workflow

across multiple locations.

For Film, Surround,

and Concert Recording Applications

For film recording on location, multiple

wireless and boom microphones can be

connected to the R-88. The R-88 mixes

the audio signals and outputs a stereo mix

to a video camcorder or DSLR, simultaneously

recording each microphone audio signal for

subsequent post-production.

For surround recording on location,

six channel surround microphones can be

connected to the R-88, providing two-mix

monitor on headphones.

For concert recording with multiple

microphones, the microphones and PA outputs

are connected to the R-88. The R-88 records

each individual channel and two-mix from the

microphone inputs at the same time.

The Roland R-88 establishes a new standard in professional portable recording by integrating a

recorder, mixer, and multi-channel audio interface and joins the R-1000 standalone recorder/player

and the R-26 hand held device to offer a comprehensive range of recording solutions.

Professional Recording SolutionsFrom Roland Systems Group

About Roland

Roland Systems Group is dedicated

to supporting audio and video

professionals who demand excellence

in terms of performance and system

design by consistently providing the

entertainment industry with the most

creative and technically advanced

products. Offering solutions to

many markets including broadcast,

education, live production, theatre,

visual performance and worship,

Roland System Group provides

intuitive, flexible products that can

be used in standalone or system

configurations using the V-Mixing

System, Digital Snakes, or S-MADI

connectivity.

The R-88

With rugged construction, an extended

feature set, and superb sound quality, the

R-88 Eight Channel Recorder and Mixer

enables recording of up to eight channels

at 24-bit/96kHz, as well as the ability to

provide simultaneous two mix sound.

Complementing the existing award winning

range of Roland portable and hand held

audio recorders, the R-88 addresses the

market need for a portable recording and

mixing solution for situations where there

are multiple microphones on location,

and music recordings with more than

four microphone channels. Designed for

a variety of professional needs, such as

recordists who currently record with two-

mix but want to switch to multi-channel

recording, and for those who need more

than their existing four-channel recorder,

the R-88 is an affordable solution.

+ R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L

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R-1000 48-Track Recorder/Player

The R-1000 is an intuitive, standalone, dedicated recorder/player designed to work with

the V-Mixing System in any live event or production, making it ideal for virtual rehearsal,

rehearsals, playback, and training. It can also be used with any digital console with a MADI

output via the Roland S-MADI REAC MADI Bridge. Based on REAC (Roland Ethernet Audio

Communication), the R-1000 eliminates the bulk and noise susceptibility typically associated

with analogue snakes and replaces it with Cat5e/6 (Ethernet/LAN) cable. Recording up to 48

tracks of 24-bit audio in BWF format, its removable hard drive ensures smooth integration

with DAWs and allows approximately 20 hours of recording (44.1/48 kHz) using a 500GB

HDD. Multi-track playback (48 tracks of 24-bit audio via REAC) is also provided, while a marker

function enables playback at any designated point.Data can be loaded from external devices, and analogue monitor and headphone outputs

are provided, along with USB ports for backing up data and connecting a PC for further

software control, plus a versatile feature set that includes video sync, timecode, GPI,

and RS-232C.

R-26 Hand Held Recorder Professional Portable Device

With dual stereo mics, six channels of simultaneous recording

and three channel IARC (Isolated Adaptive Recording

Circuit), the R-26 is designed to be easy to use and includes

added benefits such as on-board editing, a touch panel

display, and a USB audio interface for your PC.

The dual stereo mics (omni-directional and directional)

operate independently of each other to give greater flexibility

in different recording applications. The OMNI mics are entirely

enclosed in a mesh and optimised to faithfully capture sounds down

to super-low frequencies. In addition to the onboard mics, the R-26

provides XLR/TRS inputs for up to six channels (three stereo) of

simultaneous recording. This useful feature allows you to capture

sound up close with the built in mics, record room ambience with

external mics, and save them as separate files for mixing together

later. To reduce interference between inputs to achieve clear, high

quality sound, the R-26 is equipped with Rolands proprietary IARC

on both the inputs for the built in mics and the external inputs.

The two analogue combo (XLR/TRS) jacks have 48V phantom

power, as well as a side mounted plug-in mic (stereo mini) input

with support for plug in power. The R-26 supports 24-bit/96 kHz

linear PCM recording and also simultaneous recording in WAV/BWF

and MP3 formats, whilst a pre-recording function actually begins your recording two seconds before you initiate it a great feature for capturingenvironmental sounds. The mic pre-amp is fitted with a limiter and low cut filter, which when activated reduces distortion with selectable cut off

frequencies of 100, 200, or 400 Hz.

Company Headquarters:

Roland Corporation

2-7 Kandasuda-cho, Chiyoda-ku,

Tokyo 101-0041, JAPAN

w www.roland.com

UK:

Roland Systems Group

Metropolis Studios, The Power House,

70 Chiswick High Road, London W4 1SY

Tel: +44 (0) 1792 702701

w www.rolandsystemsgroup.co.uk

e [email protected]

US:

Roland Systems Group801 West Orchard Drive,

Suite 3 Bellingham, WA98225

t +1 (360) 5944282

w www.rolandsystemsgroup.com

e [email protected]

corders 2013

D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S

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Sound Devices digital recorders are designed

specifically for documentary and feature film/

video production, sound effects gathering, and

live multi-channel music recording. The 7-Series

recorders include high-performance, high-

resolution analogue microphone preamplifiers.

Developed for high-bandwidth, high bit-rate

digital recording, these preamps set the standard

for linearity, distortion performance, and low-

noise gain.

Sound Devices two-input (702, 702T, 722),

four-input (744T), and eight-input (788T)

recorders write and play audio files with either

16 or 24-bit depth at all professional sampling

rates, up to 192 kHz (96 kHz on the 788T).

Multiple storage mediums, analogue/digital

I/O, and high-speed computer connectivity

make 7-Series recorders stand out as

world-class products.

7-Series recorders are controlled by a fast

and intuitive user interface, with easy to access

buttons and an informative LCD display and LED

metering. All controls can be accessed on the

front panel of the unit.

Created with documentary, ENG, and feature

film recording engineers in mind, Sound Devices

keeps its recorders as small and lightweight

as possible without compromising sonic

performance. No other audio recorders

approach their size/performance ratio.

The 788T can easily fit into a standard

production audio carry case such as the CS-5,

and weighs less than four pounds. All other

7-Series recorders weigh less than three pounds

and easily fit in an accessory pouch.

The 7-Series records Broadcast WAV files

(with iXML Metadata) to CompactFlash cards on

all recorders and to internal hard drives on the

drive-equipped 722, 744T, and 788T(160GB). Audio files can be transferred

over FireWire (USB 2.0 and FireWire

800 on 788T) to a Windows PC or

Mac OS computer for post-production

or archiving.

While the 7-Series recorders are

very capable tools alone, they excel

when used in conjunction with Sound

Devices 552 and 664 audio mixers.

Using an external mixer extends the

flexibility of the recorder and gives the

next level of audio I/O and control.

Two-Track Recorders

702, 702T, 722

Sound Devices two-track recorders

are powerful file-based digital audio

recorders. Sound Devices 702 is a two-

track file-based digital audio recorder, while the

Sound Devices 702T adds time code.

The time code implementation makes the

702T perfect for any double-system video or

film production application. Sound Devices

722 is designed with an internal hard drive for

extended recording time.

These compact, two-track devices record

and play back audio to CompactFlash cards

and/or external FireWire drives (as well as

internal hard drives for the 722), making field

recording simple and fast. They record and play

uncompressed PCM audio at 16 or 24 bits with

sampling rates between 32kHz and 192kHz.

Compressed MP3 audio and data-compressed

FLAC recording and playback are also supported.

Removable, rechargeable batteries are a

standard Sony-compatible Li-ion camcorder cell.

The CompactFlash card appears as a removable

storage device when connected via the FireWireport to Windows or Mac OS computers.

Four-Track Recorder 744T

Sound Devices 744T is a powerful

four-track file-based digital audio recorder.

The super-compact 744T records and plays

back audio to and from its internal hard drive,

CompactFlash cards, and external FireWire

drives. It records and plays uncompressed

PCM audio at 16 or 24 bits with sample

rates between 32kHz and 192kHz.

Compressed MP3 audio recording

and playback from 64kb/s to 320kb/s and

data-compressed FLAC are also supported.

The time code implementation makes the

744T ready for any recording job from

over-the-shoulder to cart-based productions.

Sound Devices 7-SeriesDigital Audio Recorders

Sound Devices 7-Series line is the

next generation of digital audio

recorders. The two, four, or eight

track 7-Series recorders shatter thesize, performance, and feature-

set paradigms of all previous

generations of audio recorders.

CL-8 Controller with Sound Devices 788T Digital Recorder.

+ S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D

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Eight-Track Recorder 788T

Intended for on-location, multi-track

productions, the eight-input, 12-track 788T

features a significant expansion of input

and output capability eight full-featured

microphone inputs and 12 tracks of recording.

The eight inputs, together with a flexible digital

architecture, provide unprecedented recording

flexibility. The added I/O, new architecture, and

powerful accessories such as the CL-8 and CL-9

controllers, make the 788T suitable for a wide

range of applications.

To accommodate the larger data storage

requirements of multi-track recordings, the

788T comes equipped with either a 160 GB

2.5-inch internal SATA hard disk drive or a

256GB SSD (788T-SSD). Hard drive-equipped

recorders provide up to 30 hours of eight-

track, uncompressed 24-bit audio recording

of industry-standard Broadcast Wave files.

Additionally, CompactFlash cards with UDMA

support and external FireWire mass storage

volumes can be used for recording and

playback. All three storage mediums can be

selected for simultaneous, redundant recording.

As with the 702T and 744Ts time code

recorders, the 788T has a high-performance,

full-featured time code generator. It is also

equipped with selectable word clock sync

source, including numerous video sync sources.

The 788T is powered by 7.2 V Li-ion batteries or

external DC (10-18 V) and offers an on-board

Li-ion battery charger.

The CL-8 Controller for the 788T Digital

Recorder is a portable mixing control surface

companion for its 788T recorder, which provides

additional capabilities to the 788T without

a significant increase in weight, making it

adaptable to a variety of field productions.

The CL-8 features eight large, rotary faders

to control the eight inputs of the 788T.

It offers command over numerous input settings,

including high-pass filter, limiter, polarity, and

mute. When used with the CL-8, the original

788T input controls function as input trims, and

the CL-8 controls offer fader control.

With the CL-8 users now have access to four

additional recording tracks (eight ISO tracks,

L/R master, and Aux 1 and Aux 2) through the

CL-8s associated firmware, for a total of 12

record tracks. The CL-8 is connected to the

recorder over a USB connection and it includes

a USB keyboard pass-through port.

664 Field Mixer with Integrated Multi-Track Recorder

The new 664 Field Mixer integrates a high-performance

multi-track recorder with its powerful mixing capabilities.

This combination makes for a light-weight, all-in-one

portable mixer for both small and large productions. Its six

full-features inputs with phantom, limiters, dual-stage gain,

high-pass filters and pan, plus its four output busses, are all recordable,

for 10 tracks of uncompressed broadcast WAV recording. Like the timecode-enabled 7-Series recorders, the 664 integrates a high-precision

time code generator. The available CL-6 Input Expander adds six line-level inputs, providing for 12 inputs. With the CL-6 attached, the 664

records up to 16 tracks.

Sound Devices, LLC.,P.O. Box 576, E7556 State Rd. 33,

Reedsburg, Wisconsin 53959 USA

w www.sounddevices.com

t +1 (608) 524 0625

f +1 (608) 524 0655

The 788T is a powerful eight input, twelve-track digital audio recorder designed for production sound.

Compact, linear

fader controller

with enhanced

monitoring.

rders 2013

C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O U N D D E V I C E S + + + + S O

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Meet LEA: Perfect Levels, Every Time

When we designed the iXm, we set out to make

the finest recording microphone ever. One of our

most challenging requirements was to ensure

perfect auto levelling in any environment.The result was an excitingly innovative processor

we call the LEA engine. LEA analyses RMS

level and transients, comparing the signals to

calculate a well-balanced analogue gain level.

Whether recording a whisper or a scream,

you will always capture perfect levels with

no clipping. LEA lets you capture amazing

recordings under the most stressful conditions

without AGC or artifacts. Take an iXm to the

most demanding locations and you will

be amazed.

Hello Easy Dashboard.

Goodbye Complex Display

One of the things youll notice about the iXm

is that weve made it extremely easy to use.

Since a major part of our design goal wasaccomplished with LEA, we could eliminate the

display and design a dashboard of three light-

up icons. Because you dont need to constantly

monitor levels, you only need three intuitive

indicators: Recording Status, Battery Status, and

Memory Status. And our dashboard is where

you expect it, well-positioned and always visible.

There is no better way, day or night, to keep your

recordings under control. Freed from monitoring,

you can concentrate on your interview for a

better, more personal recording.

Under Your Thumb: Silent Buttons

An incredible amount of design attention was

put into every detail of the iXm. The buttons

are smooth and produce no handling noise.

Yet they are also rugged to survive repetitive

field operation. They are large, so you can be

confident during recording. And they are dust

and waterproof to cope with any environmental

hazard. The result was worth i t: Record and Stop

buttons exactly where you expect them, working

just as you require.

The iXm truly puts control

under your thumb!

Always Just In TimeWith an adjustable

pre-roll recording

buffer, youll never

miss a conversation.

What sounds like a miracle is just our clever

engineering. Whenever you start a recording

you add up to 30 seconds of previously buffered

recording. And thanks to our silent buttons

you will hear no clicks even if you triggeredyour recording after the interview started!

Unbeatable Stamina With Options

Our unique dual power supply offers an

unbelievable total operation time of up to 16

hours. Further, you can choose your primary

power source. Because the iXm comes with a

built-in, rechargeable lithium-ion battery and a

battery compartment for three standard AA

cells, you get power assurance on location.

Our intelligent power management

will automatically load-balance

power sources without asking for

your attention. And in the unlikely

event you ever run low on power,your dashboard warns you well in

advance, so you can replace the

AA batteries for another eight hours

of operation.

Designed and engineered to create perfect location

recordings, the iXm is a revolutionary product developedinside the most familiar of audio devices the microphone.

With switchable, professional microphone heads by Beyerdynamic

and an intuitive SD recorder, the iXm allows you to capture your best

interview ever with perfect audio levels at the push of a button. Its never been easier

to record pristine, broadcast-ready audio on location.

iXm:Capture PristineAudio in any Location.

+ Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T

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Our Cooler Heads Prevail

Our Twist-Off-Twist-On (TOTO)

exchangeable mic heads give you the

options you need to perfectly match your

recording environment. Whether you

require a cardioid, super-cardioid, or an

omnidirectional pick-up pattern, you can

easily change it right on the spot.

Our TOTO auto sensing detects which

type of mic head youre using and

automatically adapts the DSP to the

right parameters. No need for anymanual settings!

Playback In The Field

Listen to your recordings during a field

check using the built-in headphone

output. Use the playback

keys to jump from track to

track. When you do, you

will experience another

great design element of

the iXm: human voice

announcements guide

you through your each

recording. No need to

follow track indicators.

Could you imagine

anything easier?

Port Panel:

Youre Free to Go

The port panel on the

bottom of the iXm holds

all the interfaces.

You will find a USB 2.0

port for downloading your

recordings and recharging

the internal battery.Use this port to configure

your iXm for your individual

preferences. The SD card

slot is well protected

against accidental ejection.

An integrated headphone

output makes your field

check easy. Weve also

included a 3.5mm jack

for recording line levels,

a valuable feature if you

want to use iXm to record

a supplied mic feed during

press conferences.

Weve even included a

connector for use with an

optional speed charger.

Storage and Memory:

SD or SDHC

Finally, as we strive to make your

work easy, secure, and reliable,

iXm uses a built-in SD/SDHC

memory card slot. Recording

capacity is based on widely

available SD and SDHC cards

with memory capacity of up to

32GB. When you share iXm with

others on a team, take your SD

card with you and use it with any

external SD-card reader.

Or, if you do not wish to swap

memory cards, download

your recordings via USB to

a computer for sharing and

editing.

Full Metal Jacket

The iXms body is constructedof solid aluminum and coated

with a smooth, touch-friendly

and wear-resistant finish.

The dashboard and the playback

keyboard are embedded in

precision milled pockets that are

completely waterproof.

A true engineering achievement

in both materials design and

technology, the iXm is as durable

as it is usable.

With its easy functionality,

industry-first features, and robust

design, the iXm is ideal in the

most demanding environments

you can imagine.

CONTACT DETAILS

Yellowtec

Heinrich-Hertz-Str. 1-3

D-40789 Monheim am Rhein

Germany

t +49 2173 9673 0

e [email protected]

UK Distributor:

HHB Communications Ltd.

t +44 (0) 208 962 5000

e [email protected]

US Distributors:

Broadcasters General Store

t +1 352 622 7700w www.bgs.cc

SCMS Inc.

t +1 800 438 6040

w www.scmsinc.com

orders 2013

+ + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O W T E C + + + + Y E L L O

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Zaxcom, Inc. designs and manufactures

innovative professional audio equipment for

the television and film industries. The US

company is a pioneer in audio technologies

for sound mixing and ENG professionals.

It engineered the first digital wireless

microphone and the first wireless microphoneto feature integrated audio recording.

The firm was founded in 1986 by Glenn

Sanders. He started Zaxcom after working in

post-production and seeing the need for a

piece of equipment to create a more efficient

workflow. He went on to build the first TBC

System (Time Base Control System) used

for video editing. The TBC System became

an industry staple and won the Emmy for

outstanding achievement in Engineering

Development in 1989-90.

The company then took a different course

and began making gear for the professional

audio industry. In 1992, Zaxcom introducedits first full feature digital audio mixer for

post-production: the DMX1000. In 1995 the

six-channel digital mixer, Arria, was introduced.

Arria was expanded in 1998, becoming the Arria

HD, an eight-channel expandable digital audio

mixer designed specifically for high definition

edit suites and live applications.

In 1996, Zaxcom began work in the field

they are experts in today: location audio.

Glenn Sanders, President, and Howard Stark,

Chief Engineer, designed, developed, and

manufactured the Deva, the first four-channel

portable hard disk recorder. Deva has since

changed the way professional location recording

is done and is used across the film and TV

production industry.

In 1999, two digital mixers were released,

the Cameo LRC and Cameo SV.

Zaxcom Audio Innovators for Film

and Broadcast Production

+ Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A

The Nomad Range

Zaxcoms Nomad is a complete location

sound recording system for video

productions. It provides all the functionality

necessary to mix and record in a power

efficient space-saving package. It comes in a

range of models:Nomad 12 is the top end machine. It has

a complete set of DSP effects to give you the

tools to not just mix and capture tracks but

to provide a level of quality not possible with

analogue-based mixing.

12 recorded tracks, ZaxNet, NeverClip,

auto-mixer, linear fader control (with Mix-8),

visual timecode slate, and MARF ultra high

reliability file system are some of the unique

features that add to the value of Nomad 12.

A combination of compact size, light weight,

low power consumption, and integratedfeatures make Nomad 12 the perfect choice

for any sound bag or cart.

All mixing and

monitoring functions

are directly accessible

from the control panel.

Nomad 12 offers the

right combination of

track count, DSP effects,

analogue inputs,

mix busses, and digital

mixing at an unmatched

price point.

The Nomad 12

mixer can send three

independent stereo mixes

to five cameras. It will record 12 tracks from

its internal mix busses. All 10 analogue

inputs are instantly available for control via

the six rotary faders and the menu encoder.

This eliminates the need for external add

on fader hardware keeping Nomad 12

as small and light as possible. All of the

mixing functions can be stored in memory

for instant access or stored to an external

memory card.

There are a number of other models

within the range to match both budget and

technical requirements of the end users. The

Nomad 10, for example, offers an impressive

ten recording tracks and 16 mix busses (to

the 12s twelve and eighteen respectively).

And the entry-level machine, the Nomad

Lite, still packs an impressive punch, offering

recording at 96kHz, six hardware faders, anddigital mixing.

Zaxcom Inc. is a

ground breaking

creator of professional

audio equipment forfilm and television

production.

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2001 brought the Zaxcom Digital Wireless

to the market. It was the first time digital

modulation was used on a professional

bodypack wireless system.At the 75th Annual Academy Awards in

March 2003, The Academy of Motion Picture

Arts and Sciences presented a Scientific and

Engineering Award Academy Plaque to Glenn

Sanders and Howard Stark of Zaxcom for

the concept, design, and engineering of the

portable Deva Digital Audio Disk Recorder.

The plaque reads: This innovative design

employs advanced hard disk recording

technology and digital audio techniques for

use in both production and post-production

recording applications.

That summer Zaxcom moved from

Midland Park, New Jersey, to its current

facility in Pompton Plains. The space grew to

accommodate the companys growing staff

and production line, which was expanding to

meet demand for Zaxcoms products.

In 2004, the next generation of Deva was

released the Deva IV and Deva V. They boast

an intuitive colour touch screen, an optionalinternal DVD-RAM drive, and can record up

to 10 tracks of audio. Stereo ENG wireless

was also released. For the first time you could

transmit two channels of audio using one

transmitter and one receiver, making the perfect

bag to camera link.

In 2006, Zaxcom released the Deva Mix-

12, a mixing panel for the Deva IV or V and its

second generation of wireless, the TRX series,

featuring recording wireless microphones.

The companys current product range spans

wireless transmitters receivers, recorder/mixers,

miniature recorders, and control surfaces that

integrate with other Zaxcom machiners.

Zaxcom has grown from one mans desire

to do things better in video editing to become

a respected and admired staple of the film and

broadcast sound industry.

Zaxcom, Inc.

230 West Parkway, Unit 9Pompton Plains, NJ 07444

USA

t +1 973 835 5000

f +1 973 835 6633

w www.zaxcom.com

ers 2013

O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M + + + + Z A X C O M +

The Zaxcom Maxx is a powerful

new tool for film sound

recordists: its an audio mixer,

RF transmitter, recorder,

timecode reader/generator, and

visual timecode slate all in one

small package.

The Maxx has four full size

XLR analogue mic/line level

inputs with 48 V Phantom power

that incorporate the Nomads

microphone pre-amps with

NeverClip clip-protection.

The four input channels can

be mixed to a range of outputs,

running at all broadcast sample

rates up to 192kHz.

Each input channel has a high

pass filter, two variable notch

filters, variable delay, and a soft

knee compressor.

The Maxxs built-in RF

transmitter is designed to be

used as a wireless camera

link. This eliminates the

possibility of level mismatch

and audio distortion

common to unbalanced

connections between

separate mixer and RF

transmitter combinations.

Maxx comes standard

with the ability to record the

two-channel mix output on

a CompactFlash or SD card).

Files can be recorded at up to

24-bit/192kHz with a dynamic

range of 137dB.

There is also a six-channel

recording option giving you the

ability to record four pre-fader

tracks along with the two-

channel mix.

Maxx can also record MP3

transcription files with a linear

timecode track.

Zaxcom Maxx

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22 RECORDER MANUFACTURERS DIRECTORY

AATON

Based in Grenoble, France,

Aaton is the manufacturer

of a range of audio-visual

equipment. Founded by Jean-

Pierre Beauviala, the company

has produced a range of quiet,

portable hardware for location

recording.

Aatons first product

targeted at sound engineers

was the OriginC+, a time-

marking system for location

recorders. More recently,

the company has produced

Cantar, an over-the-shoulder

8-track mixer and recorder.

www.aaton.com

AETA

AETA Audio Systems is

a leading international

developer of portable sound

recording units, mixers and

advanced audio codecs. It

produces the Mixy, 4Minx, and

Scoopy+.

www.aeta-audio.com

AEQ

AEQ has been developing,

manufacturing, and marketing

equipment for radio, television,

and multimedia for over 25

years. The company has

recently developed the PAW

120, a portable AEQ recorder

with voice activated recording

and XLR adapter for the use of

external microphones.

www.aeqbroadcast.com

ALLEN & HEATH

The ICE-16 is the new multi-

track recorder from Allen &

Heath, a company that has

made its name in producing

quality mixers for the past

40 years. Designed in the UK,

A&H products can be found

in a wide range of locations

around the world, including

touring, theatre, and houses

of worship.

www.allen-heath.com

FOSTEX

Founded in 1973 as a speaker

component retailer, Fostex

has adapted to changing

technologies. Although

the company still produces

speaker components, Fostex

made a successful transition

to digital in 1995. Recent

recording products include the

UR-2, a 1U rack size stereo

audio recorder with SD and

USB storage. Its professional

portable range includes the

PD606 and PD204 location

recorders, and the FR field

recorders.

www.fostex.com

IZ TECHNOLOGY CORP.

iZ Technology was originally

formed as a fledgling

company of Creation

Technologies, and consisted

of Barry Henderson and the

team responsible for the

RADAR I and RADAR II hard

disk recorders. In more recent

years, iZ Technology has

expanded its RADAR line to

include the Adrenaline Plus-

driven RADAR V line. There are

now 2500+ RADAR units being

operated in recording studios

around the world.

www.izcorp.com

JOECO LTD.

JoeCo has been founded by

Joe Bull, formerly Managing

Director of Studio Audio &

Video Limited, the creators

of the SADiE Workstation

range. Prior to SADiE, he

worked as an Audio Engineer

both in the studio, and

mixing live concerts and

festivals. This legacy brings

a wealth of experience built

up over 30 years of recording

and capturing the best

performance possible.

www.joeco.co.uk

KLARK TEKNIK

In 1974, brothers Phil and

Terry Clarke founded Klark

Teknik Research Ltd. It was

their concepts for graphic EQ

devices that really made a

name for the company, with

the production of the DN370

and DN360.

Klark Teknik continues

to innovate in both the

analogue and digital realm of

audio signal processing. The

DN9696 is the companys

high-resolution audio recorder.

It offers 96 tracks of 96kHz

audio at 24-bit, with nine

hours of internal storage.

www.klarkteknik.com

KORG CORPORATION

Korg Corporation is a Japanese

manufacturer of audio tools.

Founded in 1962 as Keio

Electronic Laboratories, the

company originally produced

rhythm machines before

its first major success with

a series of programmable

organs and synthesisers. It

went on to become one of the

worlds premier manufacturers

in synth, sampling, and

electronic music products.

www.korg.com

MARANTZ PROFESSIONAL

Marantz Professional is part of

D&M Holdings Inc. Marantz

focuses on high-end audio

products, recently producing

the PMD661; a professional

handheld PCM/MP3 recorder.

Superseding the PMD660, this

product offers an improved

form factor, superior feature

set, and the use of SD Flash

media. It also features an

integrated stereo condenser

microphone-array for point

and shoot recording, and

balanced mic and line

XLR inputs.

www.marantz.com

M-AUDIO

M-Audio is a provider

of creative tools for computer-

centric musicians and audio

professionals. The company

has independent offices in the

US, Canada, UK, Germany,

France, and Japan.

M-Audio aims to empower

musicians to create, perform,

and record with complete

mobile hardware/software

solutions that change when,

where, and how music is

made. Recent recording

products include the

MicroTrack II; a handheld

location recorder.

www.m-audio.com

MAYAH

In 1997 Mayah produced its

first audio codec, and since

then has expanded its range

to include the most recent new

firmware generation 4.0 for

C11, SPORTY, and FLASHMAN

II with extended features

www.mayah.com

MAYCOM AUDIO SYSTEMS

Maycom grew its reputation

with custom-made radio

automation systems for

broadcasting stations. Since

then, it has released a series of

location recording equipment.

Most recently, Maycom has

produced the N>Trans, a

Compact Flash-sized audio

card that allows laptops and

PDAs to be used as location

recorders.

www.maycom.nl

NAGRA

Nagra Audio has developed a

complete range of analogue

and digital recorders.

Equipment such as the Nagra

4.2 and the Nagra IV-S Time

Code are benchmarks in sound

recording for film.

In 2008, Nagra introduced

the Nagra VI multi-channel

digital location recorder; a

continuation in the tradition

of robust units for on-location

recording.

www.nagraaudio.com

OLYMPUS

Olympus is undoubtedly

best known as a camera

manufacturer. However, the

company has also produced

a significant range of

analogue and digital handheld

recorders. A recent addition to

this range comes in the form

of the DS-71. This linear PCM

professional dictation device

records with a 44.1kHz/16-bit

sampling rate, and offers 4GB

of internal memory equating

to the potential for over 1,060

hours of recording.

www.olympus.com

Recorder Manufacturers Directory

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ROLAND SYSTEMS GROUP

Roland was established in the

1970s, and today produces

professional products for the

audio and visual industries.1972 saw the first

branded goods released, with

the TR-33/55/77 rhythm

machines. Their range has

since expanded to include the

current Sonar REAC recording

system and V-Studio 700.

www.rolandsg.co.uk

ROSENDAHL

STUDIOTECHNIK

German audio-visual

technology manufacturer

Rosendahl Studiotechnik

produces a range of

equipment for recording pros.

In addition to a selection

of time code boxes, the

company is responsible for

the bonsaiDRIVE hard disk

recorder, a portable video

and multi-track audio hard

disk recorder. It functions

as a stand-alone hard disk

recorder and portable media

storage device, eliminating

the added size and weight of a

removable hard disk.www.rosendahl-studiotechnik.de

SADIE

Based just north of

Cambridge, SADiE shares its

main production and R&D

facilities with Prism Sound.

SADiE aims to provide its

customers with the best tools

for the task, whilst ensuring

the sonic integrity of the

program material.

Recent recording products

from SADiE include the LRX2,

a location audio workstationfor the production of location

multi-track audio recordings

to be released on distributed

media.

www.sadie.com

SONY PROFESSIONAL

Sony Professional is a long

standing leader in the

manufacturing of electronic

equipment for media,

broadcast, and installation

markets with a diverse

product portfolio that

includes cameras, displays,

microphones, wireless systems,

and much more. Its recorder

products include the PCM-D1

and PCM-D50 handheld

devices.

www.sonybiz.net

SOUND DEVICES

Sound Devices, LLC, was

founded in 1998 as a

manufacturer of field-

production audio products.

Sound Devices growing

family of audio

recorders 2013

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