https://zoomcorp.com/en/us/podtrak-recorders/podcast-recorders/podtrak-p4/

Specs

• Transmit and record simultaneously
• Multiple RF Outputs (10mW, 25mW, 50mW, 100mW, AUTO)
• Guard Rail Analog Limiter
• 75Hz and 150Hz Low Cut Filters
• Boost Audio Frequencies 7KHz -- 20Khz
• Assign User ID's to each transmitter
• 1.3" OLED display
• Screen and button lock
• Record 24bit/48kHz WAV files to MicroSD card
• Both a XLR input and 3.5mm Mic/Line input
• +48V Phantom Power
• ~10hrs of battery life at 100mW**
• 8hrs record time on a 8Gb MicroSD card
• Headphone jack for live monitoring and listening to playback
• Screen and button auto-lock
• Firmware updatable

https://www.deitymic.com/hdtx/

Specs

• 50 mm “multi-layer” polymer speakers with neodymium magnets
• Ribbon shells for drivers
• Transducers beveled at 15 °
• Scottish leather by Muirhead
• Fabrics supplied by the Danish company Kvadrat
• Comes with several detachable cables, including a balanced cable terminated by a 2.5 mm 4-point sub-mini-jack
• 350 EUR price (same as X1 or X2 intro price)
• Mid 2020 availability

Brand now owned by TP Vision, so it is not same engineers who made X1 and X2, and construction is much cheaper and fragile, similar to other modes on the market.

Some specifications

• 6-channel portable recorder equipped
• 4 XLR/jack mic inputs
• two microphones are included
• you can attach two additional jacks (making it up to 6)

Available at:

• http://www.bhphotovideo.com/c/product/967366-REG/zoom_h6_handy_audio_recorder.html
• http://www.amazon.com/H6-Handy-Recorder-Japan-Import/dp/B00DFU9BRK/

Specs

• Electret Condenser Supercardioid
• Windsock/Windjammer Included
• Sensitivity - -33 dBV/Pa at 1 kHz
• 20 dB SPL A-Weighted noise (quite high!)
• 1 x 1/8" / 3.5 mm TRS Female (Locking, on Mic)
  • 1 x 1/8" / 3.5 mm TRS Male (on Detachable Cable)
  • 1 x 1/8" / 3.5 mm TRRS Male (on Detachable Cable)
• Requires 2 to 10 V Plug-In Power
• 60 x 39 x 69 mm
• 48 g
• $99 at
  • https://www.adorama.com/senmke200.html
  • https://www.bhphotovideo.com/c/product/1577554-REG/sennheiser_508897_mke_200_camera_mount_directional.html

Specs

• Customized applications for field recording, music and podcasting
• Interchangeable input capsules
• 12-track simultaneous recording
• Very old analog stage with cheap 24/96Khz ADC
• Analog I/O
  • 4 x XLR 3-Pin Female Balanced Mic Input (Lockable)
  • 2 x Combo XLR-1/4" TRS Female Balanced Instrument/Line/Mic Input (Lockable)
  • 1 x 1/8" / 3.5 mm TRS Female Unbalanced Line/Mic Input
  • 1 x 1/8" / 3.5 mm TRS Female Unbalanced Line Output
  • 1 x 1/8" / 3.5 mm TRS Female Unbalanced Headphone Output
• Gain control knobs and -20dB pads for each input
• Supplied XYH-6 X/Y capsule provides secondary input via a stereo ?" Mic/Line In mini phone jack
• Phantom power for four main XLR inputs: +12/+24/+48V
• Auto-record, Pre-record and Backup-record functions
• Large color LCD touchscreen display
• Built-in effects, including low-cut filtering, compression, and limiting
• Multichannel and stereo USB audio interface for PC/Mac/iPad
• Accepts standard AA alkaline or NiMH rechargeable batteries
• Micro-USB port (sic!)
• Can use Batteries, USB Bus Power, AC/DC Power Adapter
• 4 x AA batteries (over 20 hours of operation)
• 20 Hours Battery Life
• 116.4 x 48.6 x 163.3mm
• 354 g
• $399
  • https://www.bhphotovideo.com/c/product/1572724-REG/zoom_h8_8_input_12_track.html

I put both microphones 8 cm away in parallel with the front of their interference tube at the same height. I spoke a bit and used my phone to generate white noise (which I understand by the nature of the crappy speaker on a phone will be not anywhere close to real white noise, plus there is a lot of noise in London which overlaps with my test) and placed it around the microphones using a measuring tape to keep the distances where I wanted them. The recorder was my also 10 year old Tascam DR-680 which has pretty decent preamps in my experience and both channels were set to the same gain.

The main takeaways:

The NTG-5 is noticeably hotter. The NTG-5 rejects way more noise to the sides. The AT-875r has a low cut that works great (I actually like my voice better with the unprocessed AT-875r)

You can download the file here if you want to hear it yourself.  

https://drive.google.com/file/d/1eatefYMnykOYERRRcEC8GuBPbhL3W32i/view?usp=sharing

Main stuff

• Revolutionary acoustic design, delivering a natural, uncolored sound.
• Extremely lightweight (just 76g), short shotgun microphone (just 203mm), making it far easier to handle on set than other shotgun mics, especially when used on a boom pole.
• Tailored frequency response and very low self-noise of just 10dbA, making it ideal for location recording, professional filmmaking, and other critical recording situations.
• Highly directional supercardioid polar pattern and smooth off-axis response.
• RF-bias technology and conformal coating ensure superior performance in adverse weather conditions.
• Comes in a complete location recording kit with windshield, pistol grip and other accessories – the NTG5 is ready to take into the field right out of the box.
• -23.5 dB re. 1 Volt/Pascal
• 10 dB SPL A-weighted EN
• $499
• https://ntg5.rode.com

the noise appears only when recording, not on the pre rec stage (where we can hear the input mic), it always starts with something that reminds me the noise of a cd rom entering the pc, and then it gets periodic, like a brum, brum, brum... the noise changes the priodicy if i change the recording hz, at 96 is faster, at 48hz is slower, mono or stereo recording makes no difference.

the noise also is only noticeable when there is silence, if there is an ambient noise sometimes is not noticeable, it is there though...

any one knows how to solve this?? i believe it´s hardware related problem, but i think is coming from the tascam and not the "firewire solo" or the mic

Specs

• 3, 6 or 10 track recording
• 142dB dynamic range
• 32bit float, 24bit, 16bit recording
• Up to 192kHz sample rate
• Mic input: +6dB to +76dB
• Line input: -20dB to +30dB
• Timecode
• Auto-copy to USB
• Power supply include
• Prices
  • MixPre-3 II: $649 - https://www.bhphotovideo.com/c/product/1503004-REG/sound_devices_mixpre_3_ii_3_channel.html
  • MixPre-6 II: $849 - https://www.bhphotovideo.com/c/product/1503005-REG/sound_devices_mixpre_6_ii_6_channel.html
  • MixPre-10 II: $1399 - https://www.bhphotovideo.com/c/product/1503006-REG/sound_devices_mixpre_10_ii_10_channel.html
• Product pages
  • https://www.sounddevices.com/product/mixpre-3-ii/
  • https://www.sounddevices.com/product/mixpre-6-ii/
  • https://www.sounddevices.com/product/mixpre-10-ii/

Key specs:

• 3D room analysis delivers incredibly accurate, natural sound
• Simplified, step-by-step room analysis software makes setup a breeze
• Advanced controls let you achieve precise correction in any situation
• Now supports 3rd party measurement microphones
• Measurement mic, room analysis software and correction plug-in
• Improves frequency balance and stereo imaging in any room
• Work faster and create better mixes without expensive room treatment
• Virtual monitoring emulates the sound of common listening devices
• $249 for system with microphone or $199 without
• https://www.ikmultimedia.com/products/arc3/index.php?p=info

Reality check:

Principle:

How it looks:

Main specs

• SD/SDHC/SDXC card as recording medium (up to 128 GB)
• High-quality recording inputs through Tascam original High Definition Discrete Architecture (HDDA) microphone preamps with NE5532 operational amplifiers for even higher audio performance.
• Simultaneous recording of up to four channels is possible. Four channels can be mixed down to a stereo signal.
• Recording levels can be adjusted independently
• Dual recording function allows two files to be recorded simultaneously at different levels
• 44.1/48/96 kHz, 16/24-bit, linear PCM (WAV format), Broadcast Wave Format (BWF) supported
• Two built-in omnidirectional microphones
• Four XLR/TRS combo inputs can provide phantom power (+24V/+48V)
• +24 dBu maximum input level (20 dB headroom)
• Additional unbalanced input for channels 1 and 2 (stereo mini jack) supports mics that require plug-in power
• Switchable low-cut filter conveniently reduces low-frequency noise (40 Hz, 80 Hz, 120 Hz)
• Switchable limiter to prevent clipping
• High-quality audio can be output to a DSLR camera for recording
• Camera input enables convenient monitoring of audio from a DSLR camera
• Selectable mid-side decoding for use with MS microphone setups
• Slate tone functions (automatic/manual) to simplify synchronization of video files when editing
• Pre-recording function allows the unit to record the two seconds of sound before recording is activated

http://www.tascam.eu/en/dr-70d.html

Available at:

• http://www.bhphotovideo.com/c/product/1086798-REG/tascam_dr_70d_4_channel_audio_recording.html

Specs:

• Four-track WAV or BWAV recording up to 96kHz/24-bit
• Designed to attach to DSLR camera with top and bottom tripod mounts
• Easy-to-use interface with switches instead of menus
• Dual record mode captures a safety track so there’s a backup in case of overload
• High-quality microphone preamps, analog/digital converters, and recording format (BWAV) – much better than the camera audio specs
• Improved microphone preamp with up to 64dB of gain
• Camera output pads down to mic level so it doesn’t overload the camera
• Records to SD card media
• Individual headphone and line outputs
• Slate function plays a tone for easier syncronization with camera audio
• Two XLR/1/4” combination jacks plus stereo 1/8” mini jack
• Powered via AA batteries or USB input
• $199 price

Available at:

• http://www.amazon.com/TASCAM-DR-60DmkII-DSLR-Audio-Recorder/dp/B00MIXFBL0/
• http://www.adorama.com/TSDR60MKII.html

Product page - http://tascam.com/product/dr-60dmkii/

TASCAM’s DR-60DmkII is a portable recorder designed from the ground up to be the ideal recorder for DSLR filmmakers. The design of the DR-60DmkII contains a tripod mounting screw on top and socket hole on the bottom, integrating perfectly with cameras from Canon, Nikon, Sony, and others. The camera output attenuates down to mic level before passing the signal to the camera to prevent distortion. The new version includes an improved microphone preamp for up to 64dB of gain and a smoother sound.

A pair of XLR microphone inputs feed TASCAM’s latest HDDA microphone preamps and provides phantom power for condenser microphones. The preamp gain and other controls are easily accessed from the front panel with physical controls instead of software menus for quick adjustment. These preamps are recorded at audiophile resolution using premium A-to-D converters, for audio quality that far outshines the camera audio. Individual headphone and line outputs allow an additional feed on-set.

A second pair of inputs can be patched to wireless receivers or other sources for four-track recording. Alternatively, Dual Recording mode captures a safety track of your audio at a lower level. If an actor suddenly belts out a line, distorting the recorder, Dual Recording provides a non-distorted backup copy. There’s also a limiter and hipass filter to avoid overdriving your tracks.

The DR-60DmkII records Broadcast WAVE files, time-stamped with the time of day, to SD card media. A slate function records a tone to the tracks for easier synchronization to camera audio. Modern editors like Premiere and Final Cut Pro Ten have automatic clip synchronization, and there is software for syncing up with older editors.

At a cost less than competing preamps, the TASCAM DR-60DmkII is the ultimate 4-track recorder designed for filmmakers, television, live events and web broadcast.

The Pro features the same high performance, low-noise mic preamps as our acclaimed Zoom H5 and H6 Handy Recorders, with recording and playback at resolutions up to 24-bit/96 kHz. The improved noise floor (-120 dBu EIN) captures audio at lower volumes with less noise and fewer artifacts.

• XLR (balanced input) / standard phone (unbalanced input) combo jack,
  • Input impedance:
  • (Using balanced input) 3 kΩ or more, pin 2 hot
  • (Using unbalanced input) 470 kΩ or more
  • Input gain:
  • (Using balanced input) −16 dB to +43 dB
  • (Using unbalanced input) -30 dB to +32 dB
• Built-in stereo mic:
  • Unidirectional condenser microphone
  • Sensitivity: -45 dB/1 Pa at 1 kHz
  • Input gain: -16 dB to +51 dB
  • Maximum sound pressure input: 140 dB SPL
• External mic:
  • Mini stereo phone jack
  • Input impedance: 2 kΩ or more
  • Input gain: - 16 dB to +51 dB
• Line/phone output
  • LINE Output load impedance: 10 kΩ or more
  • LINE rated output level: -10 dBu
  • PHONE: 20 mW + 20 mW (into 32Ω load)

https://www.zoom.co.jp/products/field-video-recording/field-recording/zoom-h4n-pro-handy-recorder

Has a low low price of US$399

2.4 GHz Digital Transmitter (like RodeLink, no need to worry about what frequencies are legal)

All info on the top, which is nice. But perhaps my favorite feature: "Receiver Can Pair to Two Transmitters". Handy!

Annoyingly the input is a 4 pin XLR, which doesn't match up with any transmitters I own currently.

Unfortunately it is not shipping yet, and there are no reviews of it online, but it looks like a product to keep an eye on!

https://www.bhphotovideo.com/c/product/1340330-REG/marantz_professional_pmd_750_2_4ghz_camera_mount_wireless.html

Zaxcom is proud to announce Nova, a sound solution that combines a mixer, a recorder, ZaxNet™ remote control and wireless receivers into one compact and lightweight device. By combining features of the popular Nomad and Deva 24 with two integrated wireless receivers, Nova sets a new standard in sound recording capabilities for the feature film, television broadcast, live performance and high resolution sound effects recording.

Nova can record up to 12 channels of audio to two compact flash cards. The unit has 4 mic/line NeverClip™ inputs, 2 line level balanced inputs, 4 external AES inputs and 6 analog/AES output buses. 2 AES42 microphones can also connect to the AES inputs and are powered by the Nova.

The 4 channels of AES sample rate converting inputs can also connect to external wireless receivers. The 4 NeverClip™ microphone preamps have 140 dB of dynamic range eliminating the need for limiters that can distort the recorded mix track and ISO track.

Nova is also equipped with ZaxNet™ remote control which gives the ability to adjust frequency, preamp gain and output power on Zaxcom transmitters eliminating the need to approach the talent.

Two optional QRX212 dual receivers can be installed inside the Nova effortlessly. All connections including antennas are made within the Nova without external cables. The QRX212 receivers are the same as found on the Zaxcom RX-12 and RX-12R and are interchangeable with the Nova. The QRX212’s can receive audio from up to 4 separate transmitters in mono or stereo mode for up to 8 channels of wireless audio total.

The QRX212 receivers are fully integrated into the Nova. When a frequency is changed, both the receiver channel and the transmitters on the talent are changed at the same time. When frequency scans are initiated, all transmitters on talent are put in non-transmission mode so an accurate scan can be done. Once the scan is complete all transmitters and receivers can be assigned to clean frequencies instantly with the touch of a single button. The transmitters will automatically be enabled on the new frequency.

Full integration of Zaxcom Digital Recording Wireless with the Nova makes for a unique and powerful system. Track names from the recorder can be automatically sent to the backup recordings on the wireless transmitters for easy identification in post. As an alternative, transmitter names can automatically rename the ISO tracks of the recorder. The Nova’s transport control can automatically control the recording on the bodypack transmitters so that there is a matching file on the transmitter for each recorded file on the Nova. Timecode is automatically jammed on each recording transmitter without the need to jam with a hardwired cable.

Nova includes Zaxcom’s 35 MHz tunable tracking front end filter on the wireless receivers. This filter allows for rejection of interfering sources like UHF walkie talkies. The RF distribution system is immune to intermodulation overload.

Zaxcom’s Audition and Re-record allows for instant remix and recovery of dropouts due to RF transmission interruption.

Nova’s graphical user interface is intuitive and simple. All buttons and knobs are ergonomically spaced to eliminate accidental bumping of levels due to overcrowding of buttons and switches on the front panel. An LCD paired with 6 push buttons provides menu navigation that can be used in adverse weather conditions.

The 5 faders are high resolution continuous encoders with LED indicators to indicate fader position and can display precise input audio level metering. The faders are user organized into 4 banks of 5 sources. Fader control, trim control and ZaxNet™ transmitter preamp gain are all quickly accessed with the touch of a single button.

Nova uses Zaxcom’s reliable MARF recording system to keep audio safe from corruption. IFB audio transmitted is wireless and is encrypted. Additionally, Nova uses two power inputs for redundant operation. External power distribution is not necessary as no external hardware is needed when using the Nova.

Nova can be used with any wireless system utilizing the analog and AES external inputs. Nova will be available Summer 2019 for $4,995. Each QRX212 receiver is optional and sold

Specs

• Digital only microphone made for beginners
• 48Khz 24bit format
• Uses standard drivers
• USB-C port
• Premium $100 price (cost to produce is around $20)

The ECM-B1M shotgun microphone includes eight pickup capsules, with three user-selectable directionality patterns. The unit itself is about 10cm / 4in in length. It will be available in September for $350.