Vermont Folklife Center Archive » Archive Field Guides » Digital Audio Recording Equipment Guide
Digital Audio Field Recording Equipment Guide
The Vermont Folklife Center
88 Main Street
Middlebury, Vermont 05753
Phone 802-388-4964 / Fax 802-388-1844
info@vermontfolklifecenter.org / www.vermontfolklifecenter.org
Prepared by Andy Kolovos
Last Updated 12/11/2007
What's New:
First big update in a freakin' long time--still, I made it in time for the holidays! So here's what's new:
- As the new title indicates, this resource is now officially about stand-alone, portable, digital auidio recorders only. As such, I've exiled the sections on analog cassette decks and laptop recorders to the retired equipment page. As we all know, love it though we may, cassette is pretty much reached the end of its tether. As for the laptop interfaces, there are two issues. First, there are way too many of them for me to keep up with. Second, in my opinion for the primary purpose of this guide--field audio recording of ethnographic interviews--they are not all that well suited.
- That stated, I've added new information about a whole slew of new flash memory recorders from a bunch of manufacturers. They can all be found in the Solid State Memory Card Recorder section below.
- Also added a long needed iPod update and some small adjustments to the text here and there.
Next up I'll add some info on the newish Korg recorders--the MR-1 and MR-1000. Long term goal is an overhaul of the mic section. No promises as to when, however--the baby is due any day now...
A (REVISED) Special Note:
I'm really happy that so many people find this thing useful, and I'm totally flattered that people seem to think I'm some sort of expert on this topic. Thing is, between my primary work duities, my dissertation, and having a life, I'm pretty swamped.
So please--do not call me.
Really.
I don't want to be rude to you, but I will be. I simply do not have the time to answer any questions by phone.
Regarding email:
We maintain this webpage to assist ethographic researchers in acquiring equipment to conduct their work. If you are a professional researcher or student in an ethnographic field (e.g. folklore, ethnomusicology, oral history, anthropology), or if you are an educator or community scholar planning or undertaking a community research project, you are welcome to write me. However, if you do not hear back, please be understanding. I respond to everyone I can as soon as I can, but I just can't get back to everyone.
Also, if you want to give me (positive or negative) feedback, share experiences with gear, point out grammatical or spelling mistakes, etc., feel free to drop a line. I can't promise I'll be able to get back to you, but I'll try--and I certainly appreciate it.
Thanks for understanding.
PDF Download
In response to popular request, you can now download this entire resource as a PDF file. I can't promise that the PDF will be updated as often as the HTML, but I'll try. You can download the PDF :: here.
Table of Contents
I. Introduction
II. Analog Audio Cassette Recorders
III. Portable Compact Disk Recorders
IV. DAT Recorders
V. Direct-to-Laptop Recording
VI. MiniDisc Recorders
VII. Hi-MD Recorders
VIII. .mp3 Recorders
IX. Solid State Memory Card Recorders
X. "Hybrid" Recorders
XI. Motherships: i.e. Really Expensive Digital Stuff
XII. Microphones
XIII. Microphone Stands
XIV. Cables and Accessories
XV. Equipment Suppliers
XVI. Other Online and Print Resources
XVII. Some Final Words
This document is designed to offer guidance to researchers interested in obtaining digital audio recording equipment for conducting ethnographic fieldwork. It is primarily focused on the needs of folklorists, ethnomusicologists, oral historians, and anthroplogists, although anyone working in an ethnographic discipline or conducting ethnographic research will find some information of use here.
Before your eyes pop too far out of your head after seeing the prices of the equipment listed below, be aware that almost all this stuff is high-quality, professional or "prosumer" grade. In truth, any digital voice recorder and any mic will do the job. However, the better the quality of your equipment, the better the end product will sound.
No matter what kind of equipment you ultimately work with--be it a $5,000 CompactFlash/hard drive recorder or a $40.00 Olympus digital voice recorder--it is most important that you are well acquainted with it and know how to use it optimally before setting out.
Many of the higher-end machines can be found used for a fraction of their new price. There are many dealers in used audio equipment online these days, and Ebay (www.ebay.com) can be a great place to pick up bargains. When purchasing used equipment be sure the seller will guarantee that the equipment works and that he or she is willing to back up that guarantee with a full refund, repair or replacement. Caveat Emptor!
And, in the end, what matters most is not how fancy your toys are, but the relationships you develop through talking with other human beings and the legacy of their lives that you leave for the future.
II. Analog Audiocassette Recorders
This section has been retired and will no longer be updated. The retired page is avalable here :: link.
III. Portable Compact Disk Recorders [top]
Marantz now has three machines out that record to CD. One drawback to these recorders is that they must sit flat and cannot be moved while recording is underway. Another is that they only create CD-DA discs, and as a result one is limited to CD Quality audio (stereo 16bit/44.1kHz) and CD-R record times (74 or 80 minutes per disc). To learn more about the distinction between CD-DA and CD-ROM discs for audio, please see here.
For a number of reasons I don't love this approach, but the fact that you get a tangible thing at the conclusion of an interviewãa CD-Rãseems to make some people more comfortable.
Marantz CDR300
CD Recorder The first direct-to-CD field recorder. I know some folks who have been using this machine for several years now and they love it to death. Retails for around $700.00
Marantz CDR310 Professional CD Recorder
A somewhat streamlined version of the CDR300, with the added feature of an internal hard disc drive that temporarily stores audio while recording is underway. At the conclusion of the recording session you write a CD-DA or CD-ROM disc. Limited, as you might imagine, to 16bit/44.1kHz recording. Info here. Retails for around $800.00.
IV. DAT Recorders [top]
This section has been retired and will no longer be updated. The retired page is avalable here :: link.
V. Direct-to-Laptop Recording [top]
This section has been retired and will no longer be updated. The retired page is avalable here :: link.
VI. Standard MiniDisc Recorders
This section has been retired and will no longer be updated. The retired page is avalable here :: link.
VII. Hi-MD Recorders
This section has been retired and will no longer be updated. The retired page is avalable here :: link.
It is possible to create decent quality digital field recordings using certain consumer-grade recorders intended for music--in particular, .mp3--playback. In fact, any .mp3 player with a mic input can be used for this purpose to a greater or lesser degree. Because of my obsession with creating high quality recordings, I'm only inclined to recommend this be done using equipment that can record uncompressed .wav files in addition to the various compressed music playback formats out there: .mp3, .rm and .wma. Although using various compressed file formats will save space, the quality of your audio will suffer.
These machines come with several concerns--first, they're not really intended for this purpose, so although they will work, professional equipment designed for field recording is better suited to most tasks. Second, if you lose power before wrapping up your recording, you stand a good chance of losing the whole thing. Third, since the primary intention of these devices is music playback and the upload and download of digital audio files, there's no knowing the quality of the mic preamps in them. Fourth, I don't know how much faith I have in their internal storage drives for long, mic-input derived recordings.
However, with .mp3 players growing in popularity, many folks might be in the market for one or have one around already. If you are looking to buy an .mp3 player and you are also interested in conducting audio field recordings, consider buying one with a mic input that can record uncompressed .wav files--that way you kill two birds with one stone, so to speak.
Note that these devices should not be used for long-term storage of your field recordings. They will serve you best if you promptly upload your recording to a PC and burn a CD.
Regarding the iPod
A few years back (I guess we'd say several generations ago in iPod terms) this ubiquitous cultural icon was a totally lame field recorder. Using one of two microphone interfaces then available--Belkin's Universal Microphone Adaptor and Griffin's iTalk--one could record WAV audio via a microphone, however only at the embarrassing sample rate of 8kHz. Things have changed, at long last.
At the time of this writing (December 2007) Apple has several new iPods on the market including the iPod Touch and the iPod Classic. From what I have heard, both the iPod Classic and the previous generation hard drive-based iPod, the iPod Video (Gen 5 for those Apple Geeks out there) can indeed record stereo 16bit/44.1kHz audio.
I have yet to hear what audio recodings on the iPod Classic or iPod Video sound like. I can't imagine they'll really hold water next to even the cheapest of decent recorders (such as your modified PMD660 or an FR2-LE), but I feel pretty sure it'll do a better job than anything you can buy at Staples. You still need an interface, in particular the Griffin iTalk Pro (which I imagine is still a pretty weak micpre), and I'd strongly encourage you to use an external mic as well.
So if you're itching to do some interview recording, already have an iPod Classic or iPod Video and don't want to spend a pile of money on a decent field recorder, consider plunking down the $35 or so bucks for the iTalk Pro and between $50 and $100 for a less-crappy mini plug mic (perhaps a Sony ECM-MS907 or an Audio-Technica Pro 24), and you're in business. Is it great? No. Would I buy an iPod specifically with this in mind? No. But if you've got one already, it might not be a bad place to begin
Regarding other mp3 players--I don't keep up on this stuff at all. I still listen to CDs, for cripessake. The equipment listed below was bandied about on various listserves several years back. In the intervening years since I added this section, chatter on the use of .mp3 players for field recording has diminished greatly. Does that make this a vestigial section? Although there are new digital music players out there with WAV recording functions, I'm thinking so. I imagine I'll keep it active for a little while longer, and perhaps I'll even update it eventually.
As far as I can tell, all these units (except the iPod Classic, of course) are discontinued by their various manufacturers. They're pretty cheap used, though.
iPod Classic (Gen 6)
Not my favorite choice, but it might work for some. Requires an audio interface, and the only one I'm aware of at this point is the Griffin iTalk Pro. See above for more info. 80 GB model is around $250, 160 GB model is around $350.
iPod Video (Gen 5)
See above for comments. Requires an audio interface, and the only one I'm aware of at this point is the Griffin iTalk Pro. 30 GB model was around $250, 80 GB model was around $350, not sure what they go for on the used/refurbrished market. Griffin iTalk Pro is around $35.00.
iRiver iHP-120
20 gigabyte hard drive .mp3 music player. Can record and play .wav files, has a mic input and USB 2.0 for file up and download. Sold new for around $360.00.
iRiver iHP-140
40 gigabyte version of the above. Sold new for around $500.00.
Nomad Jukebox 3
Manufactured by Creative Labs, the makers of the SoundBlaster series of PC sound cards. You want to make sure you buy one of the hard drive-based models in the Jukebox series as opposed to the flash card recorder/players, and be sure to ask about a mic input and the ability to record uncompressed .wav files. Word is that this unit is actually quite sturdy. The 40 gigabyte model sold for around $400.00, the 20 gigabyte model for around $200.00.
IX. Solid State Memory Card Recorders [top]
Over the past few years solid state field recorders have come to the fore. These machines contain no moving parts and record audio directly to memory cards such as CompactFlash (CF) cards of the sort used in many digital cameras. From the cards, recordings can be directly transferred to a PC and stored on hard disc, redundant file storage servers, burned to CD-R, etc. The cards can be re-used over and over again. Best of all, when using Flash cards, there are no moving parts. No moving parts means less power draw on batteries and fewer things that can jam, bend, wear or break! No moving parts also means there is no machine noise to intrude upon your recording!
On the downside, with an hour of CD-quality audio (16bit/44.1kHz stereo) requiring 630 megabytes of memory, even a 512 megabyte CompactFlash card would allow for less than an hour of uninterrupted, uncompressed audio at these settings. However, PC cards are both expanding in size and dropping in price. At the time of this writing (December 2007) 1 gig CompactFlash cards can be had for around $25.00 or less, 2 gig cards for around and $40.00 or less and 4 gig cards for $70.00 or less. Geezum! Times have changed.
Also, keep in mind something we learned the hard way: not all brands of CompactFlash cards will work well with every brand of recorder (or vice-versa!). Before dropping bucks on a CompactFlash card, contact the manufacturer of the recorder you are interested in to obtain a list of compatible cards.
If you are contemplating a solid state recorder for you work, there are some practical considerations. Since you need to upload the data off the card and securely store the audio, you need to have access to a PC with ample storage space and, to be more safe, some kind of optical disc burner to create additional back ups. With that in mind, if you're going to be living in a tent off in the bush for 6 months, a solid state recorder might not be the best choice for you. However if you have regular (or at least semi-regular) access to a computer and reliable power, a flash-memory based recorder is a great recording option.
For more details on working with CompactFlash recorders, please see the page we created on working with the Marantz PMD660, Field Recording in the Digital Age. Although it focuses on the PMD660, the suggestions provided will transfer to any solid state recorder.
The solid state recorders discussed below are very different from the smaller digital voice and dictation recorders available at office supply stores. While the smaller digital voice recorders create sound files in heavily compressed, proprietary formats (such as the Olympus .dss file format), these pro machines can record in uncompressed, standard formats such as .wav and broadcast wave, and do so at resolutions ranging from at least 16bit/44.1kHz to, in some cases, even 24bit/192kHz. My advice: from both audio quality and digital file management perspectives, stay the heck away from rinky-dink digital dictation and voice recorders if you have an interest in creating quality audio.
Solid state recording technology is one of the best digital audio field recording options currently available, and may well represent the future of field recording in general.
Edirol R-09
New kid from Edirol. 24 bit like the others. Writes to SD cards instead of CF, which I find annoying. Those little cards make me nuts. Has a built in stereo mic, which I think is lame too. Doug Boyd has--or had, I'm not sure if he still does--one and he doesn't seem too hot on it. I got to fiddle with it at OHA and was really not impressed at all. Check it out here. Sells for around $400.00.
Fostex FR-2
Portable solid state/hard drive recorder that can record at up to 24bit/192kHz in standard broadcast wave format. Keep in mind that audio recorded at such high bit depth/sampling rates takes up A LOT of space, and there isn't a storage card out there right now that sports the necessary capacity for longer recording. Use of a portable hard drive will mitigate field recording and short-term storage issues, but introduces moving parts into the equation--overriding one of real virtues of memory card-based field recording. However, it's not like one must record at 24bit/192kHz. Lower bit depths and sampling rates will, as you probably realize, take up less storage space. The FR-2 will support recordings made at a variety of bit depths/sampling rates, from CD quality (16bit/44.1kHz) on up. Feedback thus far has been good, and it strikes me as a qualty, professional piece of gear. For an interesting review, see here. Without the optional hard drive it sells for around $1,100.00.
Fostex FR-2LE
We picked up one of these a few months ago and we're just getting rolling with putting it through its paces. Over all it's pretty cool--24bit/16bit, 44.1kHz-96kHz, BWF and MP3. A whole lot to love.
The downside for some folks (but an upside for others) is that the unit has two separate controls for setting levels when using an external mic: a mic trim and level control. When recordinig, one first sets the trim for each channel being recorded, then adujsts that signal with the level contols. Overall this increases the flexibility of the unit enormously--however, for people without experience or who aren't comfortable coming to terms with mastering the ins and outs of this approach, the FR2-LE ight not be the best choice.
Fostex info here. Our heroes at Oade Brothers have rolled out a suite of upgrades as well. Street price is around $499.00.
Marantz PMD-620
New recorder from Marantz that's both priced and sized to compete with the cheaper units from Edirol, M-Audio and Zoom. Does the currently expected usual: 24 bit/16 bit, stereo/mono, WAV/MP3. Sampling rates limited to 44.1kHz and 48kHz. Internal stereo mics and mini plug input for an external mic. Writes to SD cards. Very new, so not much out there yet. I say, YAWN. I wish Marantz would just come out with a 24 bit version of the PMD660, like the PMD-661 or PMD-666 or something. Official info on the PMD-620 here. Street price is $399.00.
Marantz PMD-660
Portable hand-held PC card recorder. Marantz foray into the field of hand held recorders. The PMD660 can create WAV files encoded at 16 bit/44.1kHz and 16 bit/48kHz in mono or stereo. It has XLR jacks for mic input (yeah!), mini plug for line level analog in and outs (boo!), and USB in/out on the unit (whoopie!). Thanks to the intrepid research of VFC internship alumnus, Mr. Stuart Burrill, we now also know that the unit has only two .mp3 encoding options (64kbps mono and 128kbps stereo only) and doesn't have a limiter. I'm not bummed about the .mp3 thing, but I can see why no limiter might be troubling to some people. In the words of a Marantz rep, "The 660 is not a replacement for the 670, it is a lower cost, more basic unit."
Opinions on the machine tend to vary. I received word from Dr. Doug Boyd (fellow IU Folklore alumnus and Oral History/Folklife Archivist at the Kentucky Historical Society) regarding some testing he conducted at a recent folklorists gathering: "Andy, I did a workshop in Alabama this weekend and conducted an A/B test on the 660 and 670 at 16bit/48 and the 660 was significantly quieter. Surprised the heck out of me." So far, so good. A thorough review of the unit from the perspective of radio journalists resides on the Transom.org site here and another thorough review by Bartek Plichta of Michigan State University aimed at researchers in linguistics can be found here.
We've been using the PMD660 for a while now, and I've found it decent but, by my standards, the mic-pres are somewhat noisy. I also discovered, much to my chagrin, that the mic-pres are easily overwhelmed by sensitive mics. I recently had a conversation with Marantz technical support about this matter and they reiterated the comment made to one of my chums earlier: the PMD660 is a lower cost unit. Part of this lower cost includes fewer features than the other machines in the line. Part of this lower cost also includes lower quality electronics when compared to the other CF recorders in the line.
Still, despite the things that bug me about the unit there is a heck of a lot to like in the PMD660. No other solid state recorder in its price range has XLR inputs, and unlike similarly priced machines such as the M-Audio MicroTrack and the Edirol R-1, you can record in both mono and stereo. Battery life in my experience has been great, and I find the recording controls to be well laid out and easy to use. Furthermore, Marantz technical support is stellar--and the value of good technical support should not be underestimated. Not only do they actually answer the phone, they're damn good about actually answering your questions.
So overall I favor the unit and tend to recommend it ahead of comparably priced machines. You can check the PMD660 out at the Marantz website here. Retailing between $450.00 and $500.00 or so.
Now, the good stuff. There is an interesting solution to many of the problems I have with the stock PMD660. Oade Brothers performs a low-cost modification to the PMD660 that greatly improves the unit’s performance. The difference is quite remarkable, actually. Their “Basic Mod” replaces the problematic mic-pres, which in turn cleans up the sound noticeably. Me and the wife, the Mighty Dr. J, picked up one as our family field recorder, and down at the VFC we bought a few as well. Info on the mod can be found here. Oade Brothers sells the PMD660s with the Basic Mod for around $560.00, which isn’t all that much more than a stock unit. So far I’m a very big fan—it’s a lot of bang for the buck.
Note: interested parties should be aware that performing the modifications renders the original manufacturer’s warranty invalid, so if you buy a modified unit you can’t go crying to Marantz for help if it breaks. However, Oade Brothers does provide a 90 warranty, so you are not totally on your own.
Marantz PMD-670
A stereo/mono recorder that records both compressed .mp3, and .mp2, and uncompressed .wav and broadcast wave at up to DAT (16bit/48kHz) quality. Uses CompactFlash cards and comes with a USB interface. We bought one in July 2004 and a second later that fall. After monkeying with the unit for, Jeez--going on three years now, I'm still generally impressed, although my once blinding enthusiasm has dimmed. It is not a super-quiet recorder, for instance. However, when all is said and done, it's good field recorder in this price range--and that's where its strength lies. We generally use it to create 16bit/48kHz mono or 16bit/44.1kHz mono WAV files using both the mic and line inputs, and have been satisfied, if not thrilled, with what can do. 1.5 hour recording uploads in approximately 11 minutes via the USB on the unit from a standard (as opposed to high speed) CF card. And please note: at 16bit/48kHz mono you can get around 3 hours on a 1 gig card! Whoa! Compared to the PMD660, it has a greater range of recording options and different, electronics. These days it seems to list for between $650.00 and $700.00
Marantz PMD-671
This tough guy is the 24bit/95kHz recorder of the PMD line. In addition to this, from what Marantz says, compared to both the PMD660 and the PMD670, it has much-improved mic-preamps. Marantz seems to be working a three-tier marketing plan with these machines, with the PMD671 at the top of the heap. I have not heard much about it, but have talked with people who use it and like it a lot. Info on the unit here. Last I checked it came in at $999.00.
M-Audio MicroTrack II
M-Audio's new version of their original Micro Trak recorder. Seems like the update addresses several of the shortcomings of the original unit--namely this time it has standard 48V phantom power (the earlier unit supplied only 30V), improved analog input electronics, and the ability to record in the mighty Broadcast WAV Format. Also, it's black instead of silver.
All that stated the rest seems much the same. It has 1/4" TRS inputs for mic inputs, built in lithium-ion battery and I'm still not sure if you can record in mono. While I'd prefer XLR to TRS inputs, the TRS inputs are a far better option than, say, the usual stereo miniplug that graces gear in this price point. While I prefer having the option of true mono recording for interviews and find only being able to record in stereo annoying, mono is nice but not necessary. However, for two reasons the battery issue is a bit of a deal breaker for me.
The built-in lithium-ion battery, much like the iPod, hampers in two ways: 1) when the battery craps out I imagine that you'll either have to replace the unit or go though some kind of complex procedure to remove the old one and install the new one. 2) Perhaps more importantly, since one cannot simply swap out the battery for a fresh one, one needs reliable access to electricty to be able to keep it running. If you do a lot of interviews that require battery power
For the record, I kinda think most M-Audio stuff is junky, but this version is a marked improvement on the previous one. Going for around $400.00.
Sound Devices 702
Oh boy! Remove the internal hard disk drive from the Sound Devices 722 (see below) and you have the Sound Devices 702, a slightly cheaper, pure solid state audio recorder. THIS is really exciting. If I wanted a 722 bad, I want this one worse. Thank Crom for my sensible wife, for without her wise counsel I would probably own one of these already, rather than saving money for the car payments I am now obligated to make for the next couple of years. Details here. List is $2,175.00, and I recently saw it at B&H for $1,850.00.
Tascam HD-P2
OK, here's where I get disappointed again. Doug Boyd--the perennial canary in the field recorder coal mine--picked one of these up and was pretty let down. Among his complaints were the need for the CF card to go through a "mounting" process before the recorder can be used. There were a few other things he had to say, but me being me I failed to write them down. I will gather more data the next time he and I speak. 24bit/192kHz recorder, cool looking. Additional info here. In the area of $1,000.00.
Zoom H2
New recorder from Zoom. Cheap. I don't like it. See below for my general opinion of Zoom stuff. Selling for around $199.00.
Zoom H-4 Handy Recorder
To be honest, I have zero interest in this recorder. Pretty much the same way I have zero interest in the Edirol recorders and the M-Audio unit listed above which--like this recorder--are just on the list because I feel like I have to include them. I do not like them. Zoom (a division of Sampson) makes cruddy guitar effects pedals and junky home studio equipment, and I am assuming that the H-4 Handy Recorder will continue in this tradition by being either cruddy, junky or both. I also really do not like anything that has built in X/Y pattern external mic capsules. Could my opinion change? Sure, I guess so. For now, however, I don't have high expectations. Info available here. Lists at $400.00, seems to retail between $270.00 and $300.00.
This category includes digital recorders that record to more than one format--hard disc and CD-R or CompactFlash and built in hard disc, for example. It's kind of a place to fit stuff that doesn't fit neatly elsewhere, so I didn't know what else to call it. I'm open to suggestions.
Marantz CDR420 Portable CD Recorder Basically a hard drive recorder with a built in CD burner. Although you apparently can't record to CD-R in real time, you can burn CD-DA and CD-ROM discs after the recording session is finished. Limited, as you might imagine, to 16bit/44.1kHz recording. Info here.
Sound Devices 722 The object of my latest audio recorder love affair. Writes to either (or both at once) Compact Flash cards and/or an internal HDD. I dream of it at night. Info on this most splendid of things can be found here. I want one. Bad. It seems my buddy Richard Hess just bought one of these. As I tamp down my jealously, I also await his feedback. I'll keep you all posted. Generally speaking, however, the more feedback I hear, the better the unit sounds. That's nice for a change. A steal at $2,375.00.
What do I mean by "Motherships"? These are currently the Mothers-Of-All-Field-Recorders out there. This is fantasy stuff for most of us, me included, so they're here mostly for voyeuristic fun.
Aaton Cantar-X
Oh boy. Info here. Lists for $14,000.00.
HHB Portadrive
Wow. Lush detail here. A minimal expenditure at around $13,500.00
Nagra V
24 bit HDD-based recorder. Nagra, Nagra, Nagra. Learn a bit more here. Lists at $6,100.00, streets around $5,900.00
Sound Devices 744T
A four channel version of the 722 above. An exciting little number. Info here. Around $4,000.00.
Zaxcom Deva IV
8 channel 24 bit/96kHz HDD recorder. Only 96kHz? Only 8 channels? Jeepers! Info here. Lists for $10,950.00.
Zaxcom Deva V
10 channel 24 bit/192kHz HDD recorder. Pretty too. Info here. MSRP--not sure, but I'm guessing it's over 11 grand..
Using an external microphone is vital to making high-quality recordings. This is something we cannot stress enough. Built-in microphones complicate recording by requiring one to place the machine as close to the speaker as possible, they limit the amount of monitoring one can do to the recording because any contact with the machine while recording is underway will be picked up by the mic, and internal mics pick up an enormous amount of machine noise from the recorder itself.
Two distinct classes of microphones are dynamic and condenser mics. While condenser mics tend to be more sensitive, they also require a power supply (either a battery or what is called "phantom power" which is drawn from the recording device) to function and tend to be somewhat fragile. Dynamic mics are generally not as sensitive, but are more durable and do not require additional power of any sort.
Another distinction in mics comes in the way they pick up sound--the distinction between "directional" and "omni-directional" mics. Directional mics of various stripes pick up audio in an area directly in front of the microphone. Omni-directional mics pick up audio equally from all directions. The most common sort of directional mic is called a "cardioid" mic because it picks up audio in a somewhat heart-shaped pattern emanating out from the front of the microphone.
A further distinction can be made between mono and stereo mics. Mono mics record a single channel of audio, stereo mics record slightly different signals to each channel of a recording, creating a stereo effect when used with a stereo field recorder. With stereo recording devices, a stereo signal can be created through the use of two appropriately positioned mono mics or with a stereo mic.
Those of you interested in recording live music should consider the merits of a stereo mic (assuming, of course, that you will be using a recording device that can record in stereo to begin with!). Although stereo mics are more expensive, a field recording of a musical event made with stereo equiment will more faithfully reproduce the experience of the live performance than will a mono set up.
On another note, we advise against using lavalier mics--the tiny clip-on lapel mics one often sees on television. Although they have the virtue of being less-obtrusive, the tiny electronics in most lavalier mic canêt match the dynamic range of larger, hand held mics.
Depending to some degree on the recorder you use, for most ethnographic and oral history interviewing a decent dynamic mono mic, whether directional or omni-directional, will work great. They are sturdy, less expensive and, since they donêt require an external power supply, less of a potential hassle than condenser mics.
For a more in-depth discussion of microphones for field recording, including comparisions between various models, visit: www.transom.org
Mono Dynamic mics:
Audio Technica AT804 Omni-Directional. A good, sturdy field recording microphone. Runs between $78.00 & $90.00.
Beyerdynamic M-58 Omni-Directional. Well regarded mic for field recording. $200.00
Electro-Voice 635A Omni-Directional. Nicknamed "The Hammer," the EV635A has been a staple in field interviewing, particularly broadcast journalism, for decades. Excellent sound, dependablity and virtually indestructable. Sells new for $100.00, used for around $50.00.
Electro-Voice 635A/B Omni-Directional, identical to the above, but in black. $100 new.
Electro-Voice 635N/DB Omni-Directional handheld dynamic mic. Another macho member of the EV635 family, a tad meatier than the A and A/B on account of its "neodymium magnet structure." Retails for $120.00
Electro-Voice RE16 Supercardioid—a vocal mic marketed for public speaking and as a less-expensive option for broadcast use. I’m curious. Around 200.00
Electro-Voice RE50 Omni-Directional mic with a well insulated handle to reduce handling noise. Around $140.00
Electro-Voice RE50N/DB Neodymium magnet equipped version of the above. A whole lotta mic. $160.00
Sennheiser MD-46 A low-cost, mono, dynamic, cardioid microphone. I don't know too much about it, but my faith in Sennheiser knows few bounds. I've seen it for between $170.00 & $146.00.
Sennheiser MD421 II Cardoid mic. The one we use at the VFC. A great mic, but somewhat pricey for most folks. $450.00.
Shure SM58 Cardioid microphone. The familiar ball-top style mic that looks kind of like an ice cream cone. Around $100.00
Shure SM63 Omni-Directional. Classic news gathering mic used for years by broadcast journalists. Approx. $120.00
Shure VP64A Omni-Directional. Affordable, solid Shure mic. Priced between $65.00 & $90.00.
Mono Condenser mics:
AKG C535EB A cardioid condenser from AKG. Looks good and the price is right, but, as with most of the stuff in this category, I have no direct experience with it. Runs only on phantom power--not battery. Retails for around $230.00.
AKG C900M Another cardioid condenser from AKG. As above, looks good. Phantom power only. $200.00
Audio-Technica AT813a A cardiod condenser. We just picked one up and so far I like it a lot--it has a nice warm sound. Battery or phantom power. Same mic as the ATM31a below, just with a different name. Around $150.00
Audio-Technica ATM31a A cardiod condenser, see above for details. Battery or phantom power. Same mic as the AT813a above, just with a different name. Around $150.00.
Audio-Technica ATM10a An omni condenser, comes well recommended and looks good for the price. Around $130.00
CAD Equitek E-100 A warm, wonderful, and odd-looking cardiod condensor. Scott Gillette, VFC field recording workshop guru, loves this mic, as do many others. Sturdy, great sounding and pretty cheap. Only available used, and it seems to go for between $100.00 & $150.00.
CAD Equitek e1002 The second generation of the mic above--a few changes for a higher price. $250.00
Electro Voice RE410 A new release by Electro Voice for the mighty RE microphone family. A cardioid condenser vocal mic. Looks good, but I have no additional info. Lists for $300.00, retail will be lower.
Electro Voice RE510 Another new addition to the Electro Voice RE family. A supercardioid (a much tighter pick up pattern than a standard cardioiod) condenser vocal/insturment mic. As with the above, looks good but I have no additional info. Lists for $300.00, retail will be lower.
Shure SM86 A cardioid condenser from Shure's SM family of microphones. Don't know much about it at all. Retails for around $180.00
Shure SM87A A Supercardioid condenser from Shure's SM family of microphones. As with the above, I don't know much about it at all. Retails for around $220.00
Stereo Condenser mics:
AKG C-1000 A matched pair of mics for stereo recording. AKG makes top quality stuff, and VFC field recording workshop instructor, Scott Gillette speaks quite highly of these. A lot of mic at this price. $300.00 for the set.
Audio Technica AT825 My ethnomusicologist buddy, Dr. Johnny Fenn, spent several months with this mic recording music in Malawi, South Central Africa. It took a beating and persevered. A great, dependable stereo condenser mic. Costs around $340.00
Audio Technica AT822 Little brother/sister to the AT825. Retails for around $240.00
Rode NT4 The mic-beloved of our summer 2003 intern, Stuart Burrill. Makes really nice recordings and looks like a medical device from the original Star Trek show. The price seems to range between $450.00 and $350.00
Rode NT5 A set of two matched mics for dual-point stereo recording. Dr. Doug Boyd of Kentucky Folklife likes •em, and thatês ok by me. $300.00 for the set.
Microphone stands make the job of interviewing and music recording much simpler, and can greatly improve the quality of the audio you record. Most mics will require a clip or adaptor to attach to any stand. New mics frequently come with the proper stand adaptor. If not, any retailer from whom you buy your mic should sell appropriate adaptors. Radio Shack sells a clamp-on adaptor (catalog number 33-372) for $5.00, which will clamp on to most smaller and larger microphones.
Atlas DS7 Desk stand. It's designed to sit on a flat surface but can pick up noise easily (for example, fingers drumming on the table, bumps against table legs) and limits where you are able to set up your interview since it must rest on top of something. Noise from table bumps can be reduced by folding up a towel (or sweater or what-have-you) and placing it under the base of the stand. $15.00-$20.00
AKG KM2210/9 High quality mic stand that won't suffer from the jitters prone to cheaper stands. Price really does matter with these things. Around $75.00.
AKG KM251 stand plus the AKG KM211/1 boom arm. My favorite stand/boom combo. The rig gets really smallãaround 2.5'ãwhen fully compacted. Sturdy too. We've been getting the pair for around $97.00 total.
XIV. Cables and Accessories [top]
Cable: Prices on cable vary depending on the brand, the quality of the cable, quantity of cable and types of connectors, but on average good cable seems to cost in the range of 75 cents through $2.00 or so a foot. Make sure you tell your salesperson what mic and recording deck you will be using so you end up with the right connectors.
Windscreens: A windscreen is a foam or fabric cover that one pulls over the top of a microphone to reduce noise caused by air blowing across it. A windscreen is a necessity if you will be doing any recording outdoors. They are also very useful for reducing breath noise and "puh" sounds associated with pronouncing words beginning with the letter "P." Windscreens are generally made of one of two kinds of material: foam or a fuzzy stuffed animal/shag carpet-style fabric. The fuzzy kind are much more effective at reducing wind noise. Unfortunately they are also tend to be more expensive and will not necessarily fit every mic. Foam windscreens are frequently sold by manufacturers as matching accessories to particular mics, so there will generally be a proper foam windscreen available for any new mic you purchase. The fuzzy fabric screens and foam screens can also be used in conjunction with one another. Original manufacturer's foam windscreens generally run in the neighborhood of $30.00-$60.00 or more, depending on the microphone model. Rycote makes a line of good-quality fuzzy fabric screens that will fit many mics out there. Prices vary, but windscreens suitable for mics such as those listed above seem to fall in the $60.00 range. Talk to a salesperson to be sure any windscreen you purchase will fit your mic.
Headphones: We strongly recommend using headphones, at least at the start of the interview and periodically throughout, to monitor environmental noise, sound levels and overall recording quality. Better headphones will certainly do a better job, but what is more important is that you simply use them at allã-in other words, almost any pair is better than none. So if you've got a pair of old Walkman headphones, iPod ear buds, a half-way decent set of monitor headphones such as Sony MDR-7502 (around $45.00) or a good set of monitor headphones such as Sony MDR-7506 (around $99.99), bring them along and use them. The one tricky part to using headphones is being sure the plug on the end of the cord matches the input on your recorder. Thankfully RadioShack sells all sorts of inexpensive adaptors to facilitate this process.
Other Accessories: There are a few other odds and ends that might be useful depending on the type of equipment you choose. A microphone pre-amp boosts the signal from the mic to the recorder, and is a good piece of equipment to consider if you are using a professional-quality microphone with a consumer-grade recorder such as an inexpensive MiniDisc machine, an .mp3 player/recorder or even a laptop soundcard mic input. Of the gaggle of such devices out there, we have worked with two--both are small, inexpensive and do a good job of compensating for the lower-quality pre-amps built into less expensive recorders.
Shure A96F Line Matching Transformer. Not technically a mic pre-amp, however the A96F will give about a 12db boost to your incoming signal. The A96F is a an in-line device intended for use with camcorders--one end has a female XLR connector, the other a mini-plug. You plug your mic or mic cable into the XLR end, and the mini-plug end right into your recorder--MiniDisc, tape deck, lap-top mic-input port, etc. Wala. For more info, see Transom.org's MiniDisc guide which includes a good discussion of the A96F. Costs aroound $45.00.
Fel Communications 35MX. Mono microphone preamp (Fel also makes a stereo version) that gives a 20db signal boost and reduces noise problems created by cheap built-in preamps in the aforementioned inexpensive MiniDisc, tape deck and lap-top mic inputs. We use them here and I'm quite impressed. An in-line device like the A96F above. For further info, check out their site here. A neat little doo-dad. Made in the UK and apparently only available in the US directly from the manufacturer via the web. Around $80.00.
Advice on buying this kind of equipment is pretty simple--check prices everywhere, ask a lot of questions and, as always, if something sounds too good to be true, it probably is. Prices on professional audio equipment can vary greatly from retailer to retailer, as can shipping charges. Many retailers will match another store's prices as well. To get the best deal, shop around. Additionally, the more questions you ask, the more you will learn. A good salesperson will have thorough knowledge of the equipment she or he is selling and be able to answer all or most of your questions. Finally, Caveat Emptor--let the buyer beware.
Inclusion on this list of retailers does not convey an endorsement by me or the Vermont Folklife Center. At one time or another we have, or someone I know has, ordered from each of them. All the retailers below feature good prices, quality customer support and have good reputations, many of very long standing. We present this list to serve as a strong starting point for purchasing field recording equipment and not as the final statement on the matter. Good luck!
B & H
1-800-947-1181
www.bhphotovideo.com
Bradley Broadcast
1-800-732-7665
www.bradleybroadcast.com
Broadcast Supply Worldwide
1-800-426-8434
www.bswonline.com
Full Compass
1-800-356-5844
www.fullcompass.com
Markertek
1-800-522-2025
www.markertek.com
Oade Brothers Audio Inc.
229-228-0093
www.oade.com
Radio Shack
www.radioshack.com
XVI. Other Online and Print Resources [top]
There's a whole lot more to say on this subject than what's here on this page. The websites and books listed below offer a great deal of additional advice on field recording equpment and ethnographic/oral history research in general, and have helped shape my thinking and discussion. Check them out.
Online Resources
Folklife and Fieldwork: A Layman's Introduction to Field Techniques
Updated (as of 2002) online version of the American Folklife Center's classic introduction to folklore/folklife fieldwork. http://www.loc.gov/folklife/fieldwork/
Historical Voices
An online component to the excellent work being done by Matrix at the University of Michigan. Both the general Historical Voices section and the education-focused Spoken Word Project tutorials have excellent information on field audio recording. Both pages seem to contain identical text with varied design, so I'm not sure if one version is being considered for retirement. If you happen to know, drop me a line. Great discussion of microphone pre-amps, stereo mic techniques, recorders and gobs of other stuff.
Field Audio Tutorial
http://www.historicalvoices.org/oralhistory/audio-tech.html
The Spoken Word Project Audio Technology Tutorial
click here
Bartek Plitcha's "Audio Technology" and "Recommendations" sections
Linguist Bartek Plitcha's website for Akustyk, a piece of linguistic analysis software, contains a wealth of information on field recording techonology, digital audio, analog-to-digital conversion fundamentals and other related stuff in the "Audio Technology" and "Recommendations" sections--as well as full info on Akustyk software itself.
http://www.bartus.org/akustyk/
Transom.org's Tools pages
Transom.org maintains a great set of guides and other terrific informational sundries in the "Tools" section of their website--equipment, recording techniques, audio editing, etc. It's aimed at independent radio producer-types, but is quite useful for the rest of us as well. While you're at it, explore the Transom Talk forums--they contain a lot of good first hand reports about experiences with various pieces of equipment, among other stuff.
http://www.transom.org/tools/index.html
UCLA Oral History Program Magnetic Recording Equipment Guide
An oldie, but a goodie. A very good resource on analog cassette tape recording.
http://www.library.ucla.edu/libraries/special/ohp/ohpmag.htm
Print Resources
Bartis, Peter. 2002[1979]. Folklife and Fieldwork: A Layman's Introduction to Field Techniques. 38pp. Print version of the website listed above. The long awaited revision of the 1979 classic is available free from the American Folklife Center at the Library of Congress. Seek it out here.
Ives, Edward D. 1995. The Tape Recorded Interview: A Manual for Fieldworkers in Folklore and Oral History (2nd Edition). 112pp. An oldie (the original edition was published in 1974), but a classic. Easy to find both new and used. List price is $13.95.
Williams, Philip and David Miles Huber. 1998. Professional Microphone Techniques. 142pp. An excellent and not overly techincal handbook on microphone placement. A terrific book.
We hope you have found this resource useful. However, as I note above, between my primary work duities, my dissertation, and having a life, I've already got more on my plate than I can handle.
So please--do not call me.
Really.
I don't want to be rude to you, but I will be. I simply do not have the time to answer any questions by phone.
Regarding email:
We maintain this webpage to assist ethographic researchers in acquiring equipment to conduct their work. If you are a professional researcher or student in an ethnographic field (e.g. folklore, ethnomusicology, oral history, anthropology), or if you are an educator or community scholar planning or undertaking a community research project, you are welcome to write me. However, if you do not hear back, please be understanding. I respond to everyone I can as soon as I can, but I just can't get back to everyone.
Also, if you want to give me (positive or negative) feedback, share experiences with gear, point out grammatical or spelling mistakes, etc., feel free to drop a line. I can't promise I'll be able to get back to you, but I'll try--and I certainly appreciate it.
Thanks for understanding.
And best of luck in your research!
Download a PDF file of this resource :: here.
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