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SONY PCM-D50 DIGITAL RECORDER
The PCM-D50 lets Sony address the entry-level digital recorder market that’s currently being dominated by M-Audio’s MicroTrack II and Zoom’s H4. Considering the feature set, robust build quality, high-res audio, and extremely attractive price, Sony’s D50 means business.
Features:
• 24 bit / 96 kHz recording in standard .WAV file format
• 4 GB Built-in Memory – records up to 6 hours @ 44.1 – 16 bit
• Two-Position Electret Condenser Microphones x-Y and Wide-Stereo Polar Patterns
• LCD Digital Peak Metering
• Memory Stick Pro-HG Duo Slot
• MP3 Playback
• Digital Pitch Control
• SPDIF Digital Input and Output
• PC/MAC Compatible – File Transfer via High Speed USB
• 5 second pre-recording buffer
The PCM-D50 is a 96 kHz/24-bit recorder fitted with two-position (X-Y or Wide) stereo microphones, 4 GB of internal flash memory and a Memory Stick Pro-HG Duo™ slot (for additional storage). The body of the D50 is constructed of lightweight metal (aluminum) and it's built rugged to withstand the demands of pro applications, plus it offers long battery life using conventional AA alkaline batteries. The recorder includes a USB high-speed port for simple uploading/downloading its native .WAV format files to/from Windows® PC or Macintosh® computers. Other unique PCM-D50 features include digital pitch control, dual digital limiter (inherited from the PCM-D1), low-cut filter, Super Bit Mapping®, A-B repeat and MP3 playback capability. To complement the D50 recorder, new optional accessories include a remote commander, tripod stand, and microphone windscreen. Additionally, the D50 offers compadible mounting and use with the recently introduced XLR-1 wide-bandwidth balanced XLR microphone adapter.
| Feature |
Benefit |
- Built-in Electret Condenser Microphones
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The PCM-D50's electret condenser microphones have exceptional high sound quality and offer a selection of 2 operating positions, X-Y and Wide Stereo. X-Y covers a wide sound range with good depth, perspective and a natural sounding stereo image; or alternatively, a wde stereo position offering a wider spread stereo image. |
- Superior Audio Signal Path
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The PCM-D50 is designed with four separate circuit boards to separate analog audio, digital audio, digital recording and power supply circuits. Separate circuit boards for each function helps minimize noise. |
- Simple Uploading to Computer
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The PCM-D50 conforms to the USB 2.0 Mass Storage Class Device standard and this recorder's native recording file format is .WAV. This means recordings can be rapidly uploaded to a computer and used in conjunction with most common audio production software. |
- Versatile Recording Functions
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The PCM-D50 offers comprehensive signal processing features for location recording including a unique dual digital limiter function (inherited from the PCM-D1 recorder), a high pass filter with selectable frequencies (150 Hz or 75 Hz) and SBM (Super Bit Mapping) noise shaping. In addition, the PCM-D50 includes a 5 second pre record buffer with |
| Specification |
Detail |
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Electret Condenser microphones. High sensitivity -35.0 dB/Pa 1kHz (typical); Maximum input level 120 dB SPL; Self noise level 20.0 dB SPL (A) |
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Built-in flash memory 4 GB, Memory Stick Pro-HG Duo (Not Supplied), Stereo Recording. The PCM-D50 is compatible with Memory Stick Pro-HG Duo MS-EX4G (4GB), MS-EX2G (2GB) , MS-EX1G (1GB) and Memory Stick Pro Duo (High Speed) MSX-M2GNU (2GB), MSXM1GNU (1GB) |
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22.05 kHz, 44.1 kHz, 48 kHz and 96 kHz |
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16-bit linear, 24-bit linear |
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Linear PCM Stereo .WAV |
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Compatible bit rates and sampling frequencies; MPEG Version 1 Layer 3: 32, 44.1, 48kHz with 32 to 320 kbps (VBR). MPEG Version 2 Layer 3: 16, 22.05, 24 kHz with 32 to 160 kbps (VBR). |
- Maximum Record Time using Internal 4 GB Flash Memory
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22 kHz 16-bit Recording Mode: 12 hours and 55 minutes; 44.1 kHz 16-bit Recording Mode: 6 hours and 25 minutes; 44.1 kHz 24-bit Recording Mode: 4 hours and 15 minutes; 48 kHz 16-bit Recording Mode: 5 hours and 55 minutes; 48 kHz 24-bit Recording Mode: 3 hours and 55 minutes; 96 kHz 16-bit Recording Mode: 2 hours and 55 minutes; 96 kHz 24-bit Recording Mode: 1 hour and 55 minutes. |
- Frequency Response (Line Input to Line Output)
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For Fs = 22.05 kHz: Frequency Response = 20 Hz to 10 kHz; For Fs = 44.1 kHz: Frequency Response = 20 Hz to 20 kHz; For Fs = 48 kHz: Frequency Response = 20 Hz to 22 kHz; For Fs = 96 kHz: Frequency Response = 20 to 40 kHz |
- Signal-to-Noise Ratio (Line Input to Line Output)
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93 dB or greater (1 kHz IHF-A) when set to 24-bit |
- Total Harmonic Distortion (Line Input to Line Output)
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0.01% or below (1 kHz, 22 kHz LPF) |
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Below measureable limit (less than +/-0.001% W. Peak) |
- Microphone Input (stereo mini jack)
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Input impedance: 22k, rated input level: 2.5mV, minimum input level:0.7mV. Supports external mic plug-in power. |
- Headphone output (stereo mini jack)
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Rated output level: 400 mV, maximum output level: 25 mW +25 mW or more, load impedance: 16 ohms. |
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Analog input - Input impedance: 40k ohms, rated input level: 2.0V, minimum input level: 450 mV. Optical Digiital Input - Input level: -24.5 dBm to -14.5 dBm, Absorption wavelength: 630 nm to 690 nm. |
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Analog output - Output impedance: 220 ohms, rated output level: 1.7V, load impedance : 22k ohms. Digital optical output - Output level -21 dBm to -15 dBm, Emission wavelength: 630 nm to 690 nm. |
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Hi-speed USB, mass storage class |
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DC IN 6V, Four AA (LR6) alkaline batteries (supplied), Four nickel metal hydride rechargeable batteries NH-AA (not supplied) |
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0.75W |
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2 7/8" x 6 1/8" x 1 5/16" (w x h x d) not including projecting parts and controls |
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12.88 oz (including batteries) |
EXCELLENT REVIEW OF THE SONY PDMD50 FROM BRAD LINDER:
http://www.bradlinder.net/2007/10/sony-announces-pcm-d50-handheld-flash.html
I went to the AES show this afternoon with my mind almost made up. My next field recorder would be a Fostex FR2-LE. On paper it's the next step up from my Zoom H4. It has decent preamps, combo XLR/quarter inch inputs, the ability to make track marks/split WAV files without pausing your recording. Sure, the battery compartment is a bit hard to get at, but that's a small price to pay for a $600 high quality device.
But a funny thing happened. I fell in love with a different recorder, the new Sony PCM-D50. The D50 is the follow-up to Sony's PCM-D1 recorder.
Like the PCM-D1, the D50 packs 4GB of internal flash memory, a Sony memory stick slot for expanded storage, high quality internal stereo condenser mics, and the ability to record 22.05 kHz, 44.1 kHz, 48 kHz and 96 kHz, 16 and 24 bit WAV audio. But the D50 is about one third the price. While the D1 lists for $1995, the D50 will be available in November and has a list price of $599, which is the same as the Fostex FR2-LE. The street price could be even lower.
So what's the difference between the D1 and D50? The D1 has higher quality mics, old-fashioned analog VU meters, and a few more expensive components under the hood. The D50 has adjustable mics. You can change their position and the recorder will automatically adjust.
Here's a shot of the two recorders side by side:
What does the PCM-D50 have that the FR2-LE doesn't? On paper, not much. In fact, the D50 doesn't even have XLR inputs or offer phantom power for external condenser mics. But here's why I'm leaning toward picking one up in November:
- It's compact, fits easily in the hand, and has excellent internal mics, making it great for grab and go recording. The FR2-LE has internal mics too, but they're the kind of mics you'd find on a third rate digital voice recorder. I think my PDA has a better mic.
- When I plugged a dynamic mic into the FR2-LE I had to crank up the gain all the way to get a decent record level. When I plugged the same mic into the PCM-D50, I had to turn the record volume down to 3 or 4 to keep from clipping. This little puppy has some powerful preamps.
- The PCM-D50 automatically detects when you've got an external mic plugged in and switches between the internal and external mic.
I picked up the Zoom H4 earlier this year because it offered some of the same features as the PCM-D1 at a fraction of the price. I was on a budget and it seemed like a good buy. But here's why I'm thinking about upgrading to the PCM-D50.
- I haven't found a single external mic that sounds good with the H4. The preamps are way too noisy.
- When using the excellent internal mics on the H4, the unit is susceptible to handling noise. I detected almost no handling noise when using the PCM-D50.
- In order to save your track or create a new file on the H4, you have to stop your recording and start a new one, which causes a you to lose a few seconds of audio. The PCM-D50 lets you create new tracks on the fly.
- The PCM-D50 controls are super easy to use, and you can change record levels on the fly with a simple jog dial. On the H4, you have to go through a bunch of software menus which will result in handling noise if you're using the internal mics.
- The H4 has a cheap plastic feel, the PCM-D50 has a sturdy metal feel.
There are more reasons, but for now I'll just show you this side by side comparison:
Here are a few more specs:
- Runs on 4 AA batteries
- Estimated battery life: 16 hours with headphones, 20 hours without
- Weights 12.88 ounces (including batteries)
- Supports MP3 playback, but does not record to MP3
- Four separate circuit boards to separate analog audio, digital audio, digital recording, and power supply circuits
- Transfer recordings to your computer using USB 2.0
- High pass filter
- 5-second pre buffer when using record pause mode
I recorded some audio using with the PCM-D50, the Fostex FR2-LE, my Zoom H4, and a Sound Devices 702 (which is way out of my price range at $2000, but since the recordings were all made on the noisy show room floor I wanted to get a recording using the best gear I could find to use as a reference point).
I'll post the audio tomorrow. Since these recordings were made in a noisy environment, I don't have an answer to my biggest question: which device would sound best in a quiet interview environment. But I'm pretty sure the Fostex FR2-LE doesn't sound enough better than my H4 to justify the price.
Update: Now you can listen to some sample recordings I made in the less than ideal setting of the AES show room floor.
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