EQ Magazine - September 2008 - (Page 52)

M-AUDIO MICROTRACK II ($499.95, WWW.M-AUDIO.COM) M-Audio was one of the first companies with a small, portable recorder, and the MicroTrack II benefits from being a second-generation device. It’s small and light, in a tough plastic case, and comes with a T-design stereo mic that’s great for recording interviews—I have the person talk into one channel, and use the other channel for ambience, mixing in as much as I want. It comes well-accessorized, including an AC adapter but it can also recharge from any USB connection. This also means you can use some of those “instant power” accessories for cell phones to get extra juice if needed. What it does best: The MicroTrack II is so small and convenient you won’t hesitate to carry it around with you. And, the operating system is about as idiot-proof as it comes; you can definitely figure it out under pressure, and use it on a gig the day you get it. Although this unit doesn’t have musician-oriented features, it does have additional goodies, like being able to record to files larger than 2GB—something most portable recorders can’t do, because they use the FAT32 memory formatting system for memory cards (so does the MicroTrack II, but they’ve figured out a way around that). It’s also easy to put in markers (Broadcast Wave Format) while recording, so when you bounce files into the computer, you can find what you want. It’s also rich with I/O, including S/PDIF and RCA line outs, 1/4" balanced TRS mic/line ins with switchable phantom power, 1/8" stereo mic in, and headphone out. Limitations: Like the Korg MR-1, the battery is not user-replaceable although you can send power through the USB in during an emergency. When the battery does die, it’s about $70 to get it replaced by the factory. Storage is to Compact Flash cards; there’s nothing wrong with that per se, but SD cards are more current and smaller/lighter. Bottom line: The MicroTrack II’s small size, sound quality, and low price definitely put it on the short list of portable recorders. It’s ideal for general-purpose applications (field sampling, journalism, recording), and simple to use. ZOOM H2 ($334.99, WWW.SAMSONTECH.COM) This is another second-generation device, following up Zoom’s H4. It seems Zoom’s forte is to include a feature set like “the other guys,” throw in some innovative aspects, then cut the price to the bone—and the H2 is no exception. Clearly designed for musicians as opposed to, say, journalists, the H2’s main claim to fame is an unusual approach to miking that allows for different miking configurations in a portable unit. It runs off alkaline/rechargeable batteries, or AC power. What it does best: The H2 is the only device in this roundup that’s intended to capture audio suitable for surround. It does this with two sets of mic pairs, one on the front and one on the rear, with each pair configured in a dual X/Y configuration (90 degrees front, 120 degrees rear). You can use the 90 degree mics when you want to record a narrow field, the 120 degree mics for recording something broader (like a full band), or record on all four channels. You can mix these to stereo, or if you have surround sound encoding software, the tracks can provide source material for 5.1 surround files. It’s also compact, and comes with a 512MB SD memory card. Musician-oriented features include a metronome, tuner, three types of dynamics control, and the ability to use it as an audio interface via the USB connector. It also does time-stamping. Limitations: The H2 can’t record files bigger than 2GB (although it can handle 16GB SDHC cards), and while it can record the raw materials for surround, you'll need authoring software—try www.wavosaur.com. Also, sampling rates are limited to 44.1/48kHz for WAVs in 4-channel mode, although it can do 96kHz for stereo. Furthermore, while the builtin mics are convenient, you have to be careful with placement—if you rest it on a surface, then use the included tripod with rubberized feet to minimize vibrations. There’s a maximum of 10 folders for stereo files, and one folder for 4-channel recordings. Bottom line: This is one of the most cost-effective offerings, and exceeds expectations. However, the surround capabilities are unique—if that’s something you want, this is the only game in town. 52 EQ SEPTEMBER 2008 www.eqmag.com http://WWW.M-AUDIO.COM http://WWW.SAMSONTECH.COM http://www.wavosaur.com 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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