EQ Magazine - September 2008 - (Page 51)

KORG MR-1 ($899, WWW.KORG.COM) Korg doesn’t make me-too products, and the MR-1 is no exception. It does just about everything differently: Stores to a 20GB hard disk instead of RAM cards, records via 1-bit DSD-type techniques as well as BWF WAV PCM files, has a metal instead of plastic casing, and the AudioGate software that comes with it is extremely sophisticated, as it can take the 2.8MHz data stream and convert it into just about anything the “real world” uses. In fact, Korg touts the MR-1 as “future-proof” because although it stores signals with the highest possible fidelity available today, you can “downshift” into more common formats currently in use. What it does best: Fidelity and storage. This is a significant, pro-oriented unit—with a price tag to match. Its sleek, shiny packaging is classy, as is the sound quality. The mics included with it are far better than just decent, and while it weighs a bit more than RAM-based units, it’s still small enough to slip into your shirt pocket. What’s more, the MR-1 is valuable in the studio; you can treat it like a two-track mastering deck, which is particularly helpful if you have an analog mastering chain—just record the analog out into the MR-1, then convert it to 16/44.1 or whatever your final delivery medium might be. I’ve also used it to sample the notes coming out of vintage keyboards, secure in the knowledge that I’ve preserved the essential sound of keyboards that are on their last legs. Limitations: The battery is not userreplaceable, so if it runs out of juice, your only option is to plug in an AC adapter (and when the battery itself dies eventually, it will need to be returned to Korg). Also, due to using a hard drive, you can’t upgrade the memory as you can with solid-state units by simply plugging in another memory card; what’s more, the hard drive makes it more sensitive to vibration. Finally, it belongs to the camp that doesn’t include specific musicianoriented features. Bottom line: If you have the budget and plan to do seriously highfidelity field recordings, and don’t need to record for hours on end, this is about as good as it gets. EDIROL BY ROLAND R-09HR ($450, WWW.ROLANDUS.COM/EDIROL) This is a second-generation device, and the additional experience shows up first in terms of ergonomics. “Setand-forget” switched functions like Hold, Limiter/AGC, Low Cut, and Mic Gain Lo/Hi are tucked away on the back, using switches that are hard to move accidentally but easy to move when wanted. You’ll also find a monitor speaker on the back, and the case has a rubberized, no-slip type of surface that makes dropping it less likely. There are two internal mics, but these don’t rotate. Although the unit comes with a 512MB SD card, it handles SD HC memory cards up to 32GB—the extra capacity is particularly handy if you choose to do 24-bit/96kHz recording. It runs off two AA batteries, and has basic I/O: 1/8" stereo mic with plug-in power switch, 1/8" line in, and 1/8" headphone out. What it does best: The OLED (Organic LED display) is bright, clear, and the most readable of the bunch 1under just about any lighting conditions. You can change playback speed from 50% to 150% with sample rates below 88.2kHz, add reverb, or “split” a file when recording—sort of like adding markers, except these actually create separate files. And there’s a big surprise: A wireless remote. When you consider how important placement is with a unit that has built-in mics, the remote lets you do something like hang the R-09HR from the ceiling and still control it from a convenient location. It can also let you split a file without having to press the R-09HR’s buttons, which might otherwise produce noise when using the built-in mics. Finally, the documentation is excellent, and Cakewalk Pyro Audio Creator software is included. Limitations: You can’t charge rechargeable batteries sitting in the R-09HR via USB or its AC adapter— you need to charge them with a conventional outboard battery charger. So just carry a bunch of AA lithium batteries, which last for around 13–15 hours when recording (6.5 hours for alkalines). Splitting a file will produce a slight gap when playing back on the R-09HR, even though the recording itself is continuous, which you can verify by exporting the file into a computer. Bottom line: This one says “workhorse”: Rubberized case, monitor speaker, good ergonomics, wireless remote, and sound quality. While a review can’t evaluate how these units will hold up in two years, I think this one would still be working just fine. www.eqmag.com SEPTEMBER 2008 EQ 51 http://WWW.KORG.COM http://WWW.ROLANDUS.COM/EDIROL http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - September 2008

EQ Magazine - September 2008 Contents Talk Box Sounding Board Punch In Freak Folk Todd Rundgren Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Sony Acid 6 Ableton Live 7 Portable Recorder Showdown Gadgets and Goodies Sounds Room with a Vu

EQ Magazine - September 2008

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