Field Recorders & External Mic Input – PCM-D50, H2n, H2 all with NT4
I was a bit surprised at the small difference I heard in recordings made with the Sony PCM-D50 alongside the Zoom H2n in my last post, and both sounded very close to the Rode NT4 reference track to my ear. A pleasant surprise, indeed considering the cost difference. But many folks who recommend the D50 do so because of its ability to handle external mics, a job poorly handled by the Zoom H2.
Rode NT4 Into Everyone
So I turned to the wonderfully flexible Rode NT4 stereo mic as a source, installing the 9 volt battery that allows it to work without phantom power. Then I put together a chain of adapters to connect the mic to a Coleman Audio LS3. I bought this gadget years ago as a monitor switcher, but it also works as a passive distribution box for comparison tests like these. The LS3 gave me three outputs and another chain of adapters turned those into stereo mini plugs for the three recorders.
The mic, three field recorders, and the switcher
LS3 to 1/4" TS to RCA to Stereo Mini
Capturing the Tracks
As usual I “printed” or recorded a 1 khz test tone at the start of each recorder track. This is a snap with the single mic feeding all the recorders. I planned to create a set of tracks you can download in raw form as well as a set of level matched tracks, so I kept the recorders running while I moved the speaker and fired up my Martin OM-18GE, tuned to taropatch open G. I played a few hard strummed chords, some harmonics, then the first verse of “Sanoe” by Queen Liliu`okalani.
Here are those raw tracks. Please be very careful with your levels when playing these tracks, they contain loud piercing test tones than can hurt your ears and your equipment if played too loud!!
Level Matching Tutorial
I did some level matching on the clips and used the Licecap screen capture program from Cockos, the REAPER folks, to make a video of the process. I’m using the Sonalksis Free G Stereo meter on each track. This not only tells us the level on a fine scale, it allows precise level adjustment separate from the track fader and master fader. I find it indispensible for this kind of work. I also keep my monitor and headphone volumes down. Test tones can hurt your ears and your gear (second warning!) And I turn off snapping since we’re not dealing with beats and bars.
Here are the resulting clips. Remember, our brains love labels and they will affect what we hear based on those labels, so if you really want a clean comparison you need to use a double-blind testing tool like foobar2000 on the PC or abxer for the Mac.
What the Tails Tell Us
I’m usually not too concerned about slight variations in frequency response when I evaluate mics or recorders. I don’t want the recording to sound like it came through a megaphone, but minor colorations don’t seem to me to affect the emotional impact of the recording. I do listen for self-noise, though, because noise is a distraction, a mask over fine detail, and it breaks the illusion of “being there” that I look for in a track. So I often find myself listening to the “tails” of tracks when comparing recordings. For this comparison I went to the end of each track and selected an area after the last note had begun to decay, raised the level a lot, 12 dB, and rendered those for you.
Conclusions
There’s a look at our three recorders when used with an external mic. I’d say it’s pretty clear that the Sony tops the field here in low noise performance, and the H2 is bringing up the rear. In an earlier post I compared the H2n to the Echo Audiofire and was not too impressed, but now that I hear it in the context of other portable recorders, I’m much happier with the new Zoom. At least for the limited purpose of capturing solo acoustic guitar in a small room, the Zoom H2n is in the ballpark with the Sony. If your needs are more demanding, something like nature or sound effects recording, you may find that the Sony provides more clean gain, something I haven’t tested.
This entry was posted on Friday, September 9th, 2011 at 12:42 pm and is filed under Audio, Comparisons, Recording, Tutorials. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
Emmanuel said in post # 1,
on November 6th, 2011 at 8:47 am
Thanks for this review.
I was searching for informations on internal preamp for a long time.
Now my problem is that i need to record field, outside things, ambiance or so
I was wondering does i need a d-50
or a zoom h2n or a h1 with external mic ?
Thanks again for your time
Have a nice day
Fran Guidry said in post # 2,
on November 6th, 2011 at 9:10 am
Emmanuel, I can’t really answer your question because I can’t know what your source, environment, or goals are. But I can say that if you need to minimize recorder noise in order to capture low level audio with maximum quality, you should choose the Sony or one of the other higher cost recorders.
Fran
Emmanuel said in post # 3,
on November 7th, 2011 at 12:35 pm
Yes thanks…
I know that this is a arsh question cause specific needs like this doesn’t fit with low cost generally.
I’m probably gonna try the h2n maybe an external mic too. And if it’s still not near as i want i’m gonna choose the sony d10.
Have a nice day
Tony Johnson said in post # 4,
on November 20th, 2011 at 10:27 am
Most interesting tests, comparisons and conclusions – thank you.
I have an H2n on order to supersede an ageing Edirol R1 – generally used with a dummy-head array (based on a BBC design) that I built some 35 years ago. I would like to use this with the H2n when not using its integral M-S mics. For semi-commercial recordings made several decades ago, I generally used 48V AKG cardioid capacitor mics (can’t remember the model no.) in X-Y config. But I’ve always been keen on M-S mic.techniques, having first tried it back in those days. It was unsuccesful however, due to excessive phase jitter from 1/4″ open-spool analogue recording (the S and M channels having been recorded on adjacent tape tracks for post-mixing).
But I digress… after searching in vain for affordable low-noise mic preamps, I found this article http://sound.westhost.com/project13.htm and am tempted to build the 12V (Fig.2) version. Any thoughts or observations on that approach?
I will gladly furnish details, photos etc. of my dummy head rig if you’re interested. It certainly sounds good through Bose QC3 headphones.
Richard said in post # 5,
on January 31st, 2012 at 9:41 am
Hello,
Your review of the Zoom H2 and other recorders using exteral mic’s was
great. Are you still posting to this site, as I have not found a more recent post.
Thank you.
Fran Guidry said in post # 6,
on January 31st, 2012 at 10:08 am
I’m not sure what is causing you to not see the last few posts, but I’ve done several since this one.
Here’s the latest: http://www.homebrewedmusic.com/2011/12/11/just-two-broadband-panels/
Fran
tv amr said in post # 7,
on February 10th, 2012 at 1:32 am
Many thanks, this info has been very worthwhile, We look forward to looking over much more of this amazing site.
Douglas said in post # 8,
on June 22nd, 2012 at 4:32 pm
Hi, Thank you for these reviews. I own an Nt 4 and I am considering different options to record live. I don’t exactly know from your two reviews here: Is the nt 4 usable with the h2n? I have listened to the recordings you have made and they sound great, but in one part you say that the Nt 4 doesn’t pair well with the Hn2 because the output is too low? Or the gain adjust on the Hn2 doesn’t cover enough range? I would like to use the Hn2 mounted on a mic stand right in front of the band. They only use one festival mic anyway. But I would like the flexibility to also use it with the Nt4 as I all ready own that. Or maybe put the Nt4 in front of the bass and feed that into the Hn2 as it records from its own mics. I did put a video review of the Nt4 up on amazon because I was so impressed with the sound I got from it feeding into a zoom r16. I get the feeling now that not many people actually purchase the nt 4. There are only five reviews for it on amazon. I think the price and the fact that they can buy the nt5 and get two separate mics makes it not that popular. Doug
Fran Guidry said in post # 9,
on June 22nd, 2012 at 8:24 pm
Douglas, I’m thinking that you’re referring to my attempt to use the H4n as part of a four track recording, replacing one of the H2n internal mic arrays. In that instance, their was no way to balance the internal and external mics, but that’s a rather specialized use.
As far as placing the H2n right in front of the band, that depends entirely on the sound that appears at that spot. A bluegrass band? Concert band? Heavy metal band? One of the issues that amplified concert tapers have with all Zoom recorders is a tendency to clip in the face of very loud sources.
Ah, your use, putting the NT4 in front of the bass while recording the whole band on the internal mics – exactly the issue I was referring to. Since you can place the mic where ever you like, you’ll be able to adjust the balance by placement, so that should work.
It sounds like you’re recording an electric band of some kind – there are many reasons why that is often quite difficult, but it’s also true that plenty of fine recordings get made, and the only way to make them is to try lots of approaches. Just like in photography, your first 1000 recordings will probably be your worst.
Fran
James said in post # 10,
on July 29th, 2012 at 8:01 pm
Hi Fran,
thanks for all your test. I do hope you may be able to help as I can’t find any such tests online. I’m considering using a h2n to record voice, spoken voice into the built in mics at close distance say 3 to 4 inches. Would the h2n pickup back ground noise eg mouse or keyboard clicks, fan noise, passing car etc.
Thanks
Fran Guidry said in post # 11,
on July 29th, 2012 at 8:29 pm
James, the way microphones and recording devices work they absolutely do pick up any sound that you can hear.
The real question is whether the ratio of desired sound to undesired sound is high enough – drowns out the noise, in other words. And you can only know that by trying in your situation, with your goals.
By the way, with a directional mic like those in the H2n, close placement also gives a boost to bass, so there’s a possibility that the result will be boomy or muddy.
Fran
James said in post # 12,
on July 31st, 2012 at 9:32 pm
Thanks for the quick reply
Thomas said in post # 13,
on December 17th, 2012 at 11:45 am
Hi, thanks a lot for your site
for you what is the best acoutic guitar recording method : 1 mic with x/y microphones like the NT4 or 2 microphones, one on the head and the other on the 12th fret of the guitar ?
I play fingerstyle guitar acoustic
Thanks for the help you could bring to me
Fran Guidry said in post # 14,
on December 17th, 2012 at 2:33 pm
I generally like to use conventional stereo mic configurations and mic the space rather than thinking in terms of miking the guitar. I’ve used XY, MS, Jecklin AB, 18″ omni AB, and I’m currently experimenting with ORTF.
As far as a recommendation, the results are so dependent on other factors and the preference is entirely subjective. What each person likes can be different, so each of us as the artist/engineer/producer has to go with what we like.
I think that there’s a lot be said for just hooking up the NT4 and recording. The arrangement and performance means a lot more to the listener than the mic configuration.
Thanks for stopping by,
Fran
Marcus Ademola said in post # 15,
on April 1st, 2013 at 10:22 am
Thank you for this review. I am still comparing options for recording audio and midi using ipad2. Would be great if you could make a review of iPad recording tools. My objective is to set up a mobile studio with relatively low cost. Here some options that I have been thinking for iPad recording pack
A) camera connection kit + usb midi keyboard + zoom h2n (with USB audio connection)
B) Alexis io dock + studio mic e.g. T.bone sc400 (phantom power) + regular midi keyboard
C) camera connection kit + behringer keyboard uma25s (work as usb midi and can transfer audio to USB) + normal microphone (USB mic would require USB hub)
D) tascam iu2 (iPad connector and works as midi and audio interface) + regular midi keyboard + normal microphone
Which option you would prefer?
I have heard that tascam iu2 does have a lot of noise. Alesia iodock is the most professional but it is too heavy to carry and I would need power source for midi keyboard and the Alesis, but then I don’t need USB hub for different USB connections. In option A I would have to swap USB cable when playing midi keyboard or recording with mic, maybe it works with USB hub (do you know)….
Another question is which option would be most noiseless for audio recording?
Would appreciate your views or test results with audio recording using iPad.
Br, M
Fran Guidry said in post # 16,
on April 1st, 2013 at 11:13 am
Marcus, my reviews and evaluations are based on the gear I happen to purchase and use. I have no other source of equipment for my writeups.
In this case, using the iPad for recording, I don’t own an iPad. I’ve considered going in that direction but so far I haven’t tried any gear or even done significant research. So I cannot even suggest where you might look for more info.
Thanks for visiting,
Fran