connecting an edirol R09 to an FP33

[Terwingen Niels]

Hi,

i am a beginning documentarymaker who seeks for better and cheaper sound solutions. I dont like the compressed sound of the hdv cameras and i was thinking about using a fieldrecorder. it seems that the edirol R09 (small handrecorder) has a line in. a mini jack connection offcourse and i was wondering if i can connect them to my line out on the FP 33.
(going from XLR to jack line in)
anybody nows if that may work?

any other sugestions welcome.i own a xhA1...

[Rob Neidig]

Actually you can come out of the "Tape Out" of the FP33 into the "Line In" on your recorder. I've done this quite successfully with an FP33 and a Marantz PMD660. I use a stereo mini-jack (1/8") cable. I don't know the 09, but I assume you then would just have to set up a menu to choose the "Line In" as your record input.

Have fun!

Rob

[Michael Liebergot]

Originally Posted by Terwingen Niels

Hi,

i am a beginning documentarymaker who seeks for better and cheaper sound solutions. I dont like the compressed sound of the hdv cameras and i was thinking about using a fieldrecorder. it seems that the edirol R09 (small handrecorder) has a line in. a mini jack connection offcourse and i was wondering if i can connect them to my line out on the FP 33.
(going from XLR to jack line in)
anybody nows if that may work?

any other suggestions welcome.i own a xhA1...

I manually sync my audio in my timeline of my NLE.
It's very simple to do, as I just find a reference point like the start of a clap or musical instrument, then sync up the waveforms on my timeline.

[Michael Foo]

I have an R09, but use it with a Sound Devices mixer. Most of the time I use it as Rob specified from the Tape Out to Line in. Sound Devices sells a proprietary cable for this. However, I've also used it with an XLR to mini cable. I think the key here is to purchase an impedance matching cable. I believe the one I purchased from B&H is made by Comprehensive. I recorded a recital yesterday, recording five mics to my Macbook Pro. As a backup, I ran an RCA cable from the tape out of my Onyx mixer to the R09 to record the main mix from the board.

[Terwingen Niels]

thanks for your replies
i guess i will close the option of small handrecorders because of the low quality preamps and most important their innerclock which will run never sync with my camera. i read this info in another thread and because of the quantity of footage that iam going to shoot i guess it will be unwise te purchase them...

[Michael Liebergot]

Originally Posted by Terwingen Niels

thanks for your replies
i guess i will close the option of small handrecorders because of the low quality preamps and most important their innerclock which will run never sync with my camera. i read this info in another thread and because of the quantity of footage that iam going to shoot i guess it will be unwise te purchase them...

While I do hear what you are saying about the low quality pre amps and internal clock, I have to respectfully disagree with you.

I have tried and use many different field recorders, and I can say that there are some that are great and some that are average to poor.

I started off with the M-Audio Microtrack and it worked great except fr a few things, mainly the internal rechargeable battery I hated, and would have preferred XLR over 1/4 TRS inputs.

The Zom H4 was decent, built in XLRs were great help, but there was sync issue.

I am not going to talk about the Edirol R4 or R044, because they are beyond the scope of a small recorder. But they are fantastic field recorders.

The Edirol R09 and Marantz PMD620 are fantastic, with good internal pre amps and they do hold sync with all of my video footage. No problems here.

The Zoom H2 has average pr amps and you will have sync issues.

As you can tell the problem lies with cheap recorders that while have very good functions on them, have some poor internal mechanics on them. They use cheap pre amps and cheap internal crystals from China.

The Edirols and Marantz use higher grade pre amps as well as good crystals from Japan. Notice something here.

You get what you pay for.

If you want quality audio gear then you have to step up and drop the moolah for it. And the Edirol, Marantz, Tascam units aren't much more than the Zoom units. but there is a difference in quality, both build and internal.

[Terwingen Niels]

thanks Michael for the response,

something I didnt mention is that I was going to use this setup for heavly (loads of footage)documentary work in southeastasia..with the intention/option of blowing it later up to bigscreen.
I agree with what you say ''You get what you pay for''
the problem is that my canon xh A1 has no timcode. need to find somesort of better recorder i guess.
do you think the R 44 edirol can fit up this task?

greetz

[Michael Liebergot]

Originally Posted by Terwingen Niels

thanks Michael for the response,

something I didnt mention is that I was going to use this setup for heavly (loads of footage)documentary work in southeastasia..with the intention/option of blowing it later up to bigscreen.
I agree with what you say ''You get what you pay for''
the problem is that my canon xh A1 has no timcode. need to find somesort of better recorder i guess.
do you think the R 44 edirol can fit up this task?

greetz

The R-44 is great for field work, but keep a few things in mind, it is considerably larger than a R09 or such, but still very small. Secondly it's a 4 track field recorder that can take anywhere from 1/4 inputs of XLR or 1/4 inputs. The timecode on it will be dead on wit your A1.
However I don't remember ff of the top of my head if ti has dedicated timecode on it. I know the R4 and R4 Pro does. But these will be even large boxes as they use built in hard drive as compared to SD media of the R-44.

This is why I sold my R4 and moved to the R-44, as there are no moving parts since there is no hard drive and I can use anywhere from a 2-16 GB SDHC card in it.

I don't worry too much about timecode, as I sync up my video and audio on my timeline in my NLE, by finding a sync point, like a clap or c=some sort of noise. then simply line up the video and audio on my timeline and refine it by looking at the waveforms.

Here's some info on it from the B&H site.
http://www.bhphotovideo.com/c/produc..._Portable.html

Here's a link to the Edirol site.
http://edirol.com/index.php?option=c...313&Itemid=390

[Terwingen Niels]

okay...

so you think I could use the R44 as a all-in-unit, meaning I dont need even an additional fieldmixer? or should an additional fieldmixer like the FP 33 or SD302 give better audio?

greetz

[Michael Liebergot]

Originally Posted by Terwingen Niels

okay...

so you think I could use the R44 as a all-in-unit, meaning I dont need even an additional fieldmixer? or should an additional fieldmixer like the FP 33 or SD302 give better audio?

greetz

You won't need a field mixer if you purchased an R-44.
I shoot video as a second business and tried using a field mixer, which was too hard for a one man band like myself. By purchasing units like the R-4 and now R-44 I can feed my inputs into it and pretty much forget about it, as the onboard limiters are very good, and the internal pres on the R-44 are very quiet.

What I do is record 3*4 sources with my R-44 and then send one or two mixed down wireless feeds (via the R-44's RCA outs) to my camera for monitor/sync/backup audio. So I can send a mixed down CH1/2 and or CH3/4 feed mixed down to 2 mono signals to my camera.

It's a very streamlined workflow for me that enables me to get one or two redundant audio feeds if needed.