But a funny thing happened. I fell in love with a different recorder, the new Sony PCM-D50. The D50 is the follow-up to Sony's PCM-D1 recorder.
Like the PCM-D1, the D50 packs 4GB of internal flash memory, a Sony memory stick slot for expanded storage, high quality internal stereo condenser mics, and the ability to record 22.05 kHz, 44.1 kHz, 48 kHz and 96 kHz, 16 and 24 bit WAV audio. But the D50 is about one third the price. While the D1 lists for $1995, the D50 will be available in November and has a list price of $599, which is the same as the Fostex FR2-LE. The street price could be even lower.
So what's the difference between the D1 and D50? The D1 has higher quality mics, old-fashioned analog VU meters, and a few more expensive components under the hood. The D50 has adjustable mics. You can change their position and the recorder will automatically adjust.
Here's a shot of the two recorders side by side:
What does the PCM-D50 have that the FR2-LE doesn't? On paper, not much. In fact, the D50 doesn't even have XLR inputs or offer phantom power for external condenser mics. But here's why I'm leaning toward picking one up in November:- It's compact, fits easily in the hand, and has excellent internal mics, making it great for grab and go recording. The FR2-LE has internal mics too, but they're the kind of mics you'd find on a third rate digital voice recorder. I think my PDA has a better mic.
- When I plugged a dynamic mic into the FR2-LE I had to crank up the gain all the way to get a decent record level. When I plugged the same mic into the PCM-D50, I had to turn the record volume down to 3 or 4 to keep from clipping. This little puppy has some powerful preamps.
- The PCM-D50 automatically detects when you've got an external mic plugged in and switches between the internal and external mic.
- I haven't found a single external mic that sounds good with the H4. The preamps are way too noisy.
- When using the excellent internal mics on the H4, the unit is susceptible to handling noise. I detected almost no handling noise when using the PCM-D50.
- In order to save your track or create a new file on the H4, you have to stop your recording and start a new one, which causes a you to lose a few seconds of audio. The PCM-D50 lets you create new tracks on the fly.
- The PCM-D50 controls are super easy to use, and you can change record levels on the fly with a simple jog dial. On the H4, you have to go through a bunch of software menus which will result in handling noise if you're using the internal mics.
- The H4 has a cheap plastic feel, the PCM-D50 has a sturdy metal feel.
Here are a few more specs:- Runs on 4 AA batteries
- Estimated battery life: 16 hours with headphones, 20 hours without
- Weights 12.88 ounces (including batteries)
- Supports MP3 playback, but does not record to MP3
- Four separate circuit boards to separate analog audio, digital audio, digital recording, and power supply circuits
- Transfer recordings to your computer using USB 2.0
- High pass filter
- 5-second pre buffer when using record pause mode
I'll post the audio tomorrow. Since these recordings were made in a noisy environment, I don't have an answer to my biggest question: which device would sound best in a quiet interview environment. But I'm pretty sure the Fostex FR2-LE doesn't sound enough better than my H4 to justify the price.
Update: Now you can listen to some sample recordings I made in the less than ideal setting of the AES show room floor.
Update 2: It looks like this digital audio recorder is getting a street price of $499.
Update 3: Sony has started shipping the PCM-D50, and I should be getting mine in early December, so expect a comprehensive review soon.
Update 4: It's here!
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Both machines share the most user friendly software of all. Both have rugged quick change battery holders that just snap in.
The Fostex has a removable battery pack with a flimsy cable that WILL eventually break. It is slow and cumbersome to change the batteries.
The H2 is OK for $199, but very cheaply made and will survive a single drop to the floor.
The new Sony D50 appears to be the new sweet spot for portable recorders.
I don't need a D-50, but will probably buy one anyway.
I looked at the R-09 a couple of years ago when we were starting to switch from minidisc recorders to flash recorders at my old job. Some reporters were using Marantz PMD660s to record interviews, but the preamps were pretty lousy so I was looking for alternatives. Ultimately I went with the M-Audio Microtrack because it had been out a little longer than the Edirol R-09 and because it had quarter-inch plugs and phantom power.
When we got the unit I wasn't particularly impressed. The sound quality wasn't really any better than minidisc. And while the unit was more durable because of the lack of moving parts, we had software issues a couple of times that locked the Microtrack up. So I wish I'd had a chance to play with the R-09.
That said, a concert might be loud enough to mask the sounds you make as you shift your grip on a cheaper recorder.
Come join us at: http://sonypcmusers.ning.com/
It's free.
I WANT to let me know. WHAT IS THE BEST CHOICE FOR EXTERNAL PRODUCTS TO BE displayed in Radio stations? M-AUDIO - Microtrack, Marantz PMD660 OR SONY PCM-D50?