TASCAM DR-05 v.s. CANON 70D onboard microphone for audio recording

Bought a new Tascam DR-05, hope to get better audio. Below are recorded in gym before a basketball game. I cannot tell much difference between the two records. I expect Tascam DR-05 has better audio quality, but apparently disappointed. Anybody can help pointing out difference in those records? or how to record using Tascam DR-05 to best demonstrate its advantage? Thanks.

https://instaud.io/1IqN

I hope #2 is the Tascam, because it sounds like it has more depth. #1 sounds like it has a hashy sheen laying on top of the sound. #2 sounds like the hashy sheen has been removed and you can walk right into the gym. Listen to the "T" in "light". In #2, the T sounds crisp. In #1, it sounds slightly fuzzy.

The other advantage to an external recorder is the bit rate. Cameras record audio at 16bit, recorders at 24bit. That means you can record to the Tascam (or Zoom) with a conservative input level without using the limiter. In 16bit, you'd need to get as much level as possible before clipping, and you'd need to use the limiter to avoid clipping.

If you're in an environment with unpredictable sound levels, you can use the other two tracks on a 4 channel recorder for a safety recording with the input levels 12 db lower. That way, if the regular recording clips, you can switch to the safety recording to get clean audio.

On your recording, if you wanted "better" sound, you'd need to set up the recorder closer to the singers, which isn't always possible in that scenario. The room sound in your recording is not the fault of the recorder, it's the fault of the room.

haiyeong said:

Bought a new Tascam DR-05, hope to get better audio. Below are recorded in gym before a basketball game. I cannot tell much difference between the two records. I expect Tascam DR-05 has better audio quality, but apparently disappointed.

Click to expand...

It's not the Tascam's fault. It's microphone type, placement and room acoustics. General principles:

- Get mic closer to the subjects

- Use properly-placed directional mics which have off-axis rejection to cut down echoes

- Use multiple mics

- Patch into the PA system, else use a mic near a PA speaker

- If there's a single presenter mic, investigate attaching a small inconspicuous wireless mic to the mic stand, e.g, Sennheiser EW 100 G3: https://www.bhphotovideo.com/c/prod..._EW_100_ENG_G3_A_Evolution_G3_100_Series.html

- Post-process the audio to de-echo it with iZotope RX6: https://www.izotope.com/en/products...HV05wEh0WXWMLUNw7b70J0dpNtGPXSlAaAqaIEALw_wcB

You often cannot get permission to patch into the PA system but sometimes the local sound guy will provide you a line out -- if you inquire ahead of time. Ahead of time you'll need a set of cables and adapters to accommodate whatever they provide.

Some events will make a local recording off the sound board for their own uses or if you ask them to. If available you can sync that with your own A/V.

Getting quality audio in situations like this can be very difficult. Even if you had a high quality hot shoe mic on the camera, it might not have been much better if shot from that position. So as your next step don't think putting a Rode VideoMic on your DSLR will fix similar cases.

Thanks dunc and joema1!

Got another shot with both recorder and camera being close to player. This time I got much different sound tracks. The 1st one is from camera, and 2nd from recorder. I think the sound in 2nd is richer.

#1: https://instaud.io/1PyH

#2: https://instaud.io/1PyJ