What format do you record at?

[Rick Reineke]

I used to use a 660 with a FP32 and always went line-in via the Shure's tape-out connectors, (on that particular model, there was two mono 3.5mm jacks). The Marantz's line-in is about -15dB.(nominal) and clips the fixed input stage easily (and it ain't pretty sounding).

[Rick Reineke]

Originally Posted by Rakesh Malik

If you can configure the recorder for dual mono, then you can either use one for each speaker or one as a backup (with higher or lower gain than the other, for example). In stereo, unless you're using two separate mics, you'll get the same result on both tracks since in stereo both channels would share gain settings.

Many folks de record the same audio on both channels with one channel lower to save unexpected overs. The 660 does not have a dual-mono mode though.. at least not like the H4n,. however panning the channels to center in the mixer would do the same.. or making a custom cable. The 660 does have separate left-right record volume controls though. (concentric knob)
A single-channel mono file will playback though both speakers equally, either on the 660s HP or internal speaker or with your favorite audio application.

[Paul R Johnson]

If the maths puts you off - remember a 44.1/16 bit CD is about 650MB, and lasts quite a while - not minutes.

I've not yet satisfied myself that 192K recording is worth it simply because the down sampling seems pointless, and I've not seen (obviously to heard, because I'm in my 50s and my hearing stops at 16K now) any real evidence that sampling at this rate records anything significant in the extended spectrum. Different topic, I guess.

[Jim Andrada]

Just to add - +1 for higher rates (96k or 192k) @24bits for music - I only record symphony orchestras/piano solos etc. No reason I can see not to use the highest sampling rate available for the raw material.

[Christian Hagelskjaer From]

Without getting into the "can anyone tell the difference" discussion, 192 kHz is rather useful for sound effects recording, giving you the option of slowing/pitching down recordings substantially - especially fun when recording metallic objects with ultrasonic-capable mics (like Sennheiser MKH 80XX series). Fun stuff happens at high frequencies. But...somewhat OT. You can actually get AD converters for mastering purposes that put out 384 kHz. That seems a little excessive though.