Tauzuru Read the specs and reviews. I have to say this thing is solid, quiet and definitely a piece of gear that will outlast my camera. Please enter your comment! The price and stereo recording input sharing make it a hard choice over its cheaper and more flexible competition. In her little bag she is hyper and very small easy to use See any errors on this page? Each input features very quiet pres and allows recording at line level, low, medium or high XLR input.
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Fostex has your answer with the DC-R Mounting easily underneath the camera, the DC offers easy-to-read meters, separate gain pots and a slew of monitoring options. It offers the option to record up to 24bit at 96kHz. Each input features very quiet pres and allows recording at line level, low, medium or high XLR input.
DSLRs are notorious for offering weak audio recording options. However with the built tough DC-R, you can achieve greater quality audio and have easy-to-monitor inputs with individual phantom power, gain control and an easy to read meter. XLR inputs for each of three channels The XLR inputs are all on the left side of the box, offering plenty of space between each for easy connection. A phantom power switch sits just above each input.
On the front, there are three gain inputs, each with three modes of high pass filter — off, 80 and There is an easy to see and read meter with a simple menu and shuttle controls.
The big button is — you guessed it — the record button. There is even a monitoring pot with the capability to monitor return from camera, Left channel, Right Channel and Stereo Left and Right. This is also where you find the SD card slot and space for four AA batteries. Overall, this simple box weighs a little more than 1. One thing to note is that if you want the DC-R to run off anything besides batteries, the optional DC power will need to be purchased separately.
How It Works To test this little black box, we mounted it to the bottom of the camera. For this review a Canon 7D was used. This attachment process was straightforward. Again, very easy, no issue at all. Overall the camera and the DC-R fit together well, not looking out of place, or limiting any use of controls on either the camera or the box.
The camera battery is no longer accessible, but because mounting was so easy, this is not an issue. The DC offers easy-to-read meters, separate gain pots and a slew of monitoring options.
Once mounted to the camera, we mounted three inputs. The first and second being lav mics and the third a shotgun mic. This is where we found the first shortcoming of the unit. You cannot choose to record three separate channels, but have to mix them to stereo.
We chose to pan both of the lavs to the left channel and the shotgun to the right. The shotgun was used to add some ambiance when needed, and also to work as a backup if hard Ps or Ss came out and effected the lav mic in a negative way.
The test showed the quality of the mic pres. They were very quiet. Neither of the lavs needed phantom power, however the shotgun did. None of the mics needed a high pass filter and medium input was used for optimum range. However, this step is often easy to forget. When paired up with the infrared control, it slates each track with a tone, to make syncing audio simple in post-production. The next test was using it as a USB device recording directly into a computer. Using Adobe Audition CS6, it operated as it should and was very easy to choose as an input.
However there are a few things that missed the mark. The first is the price tag, The Zoom H6 offers far more flexibility, more inputs and is just as easy to use but is far less expensive. Second, recording only in stereo but with three inputs was an odd design choice and forces on-the-spot forever choices regarding input groupings, instead of having flexibility in post.
The DC-R is rugged, simple to use, offers great mic pres and has every little option one might need, with a few drawbacks. The price and stereo recording input sharing make it a hard choice over its cheaper and more flexible competition.
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