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Tascam DR-60DmkII 4-Channel Portable Audio Recorder for DSLR
- Four microphone inputs with 64dB of smooth gain and phantom power
- Select Four-track recording mode of Dual recording - a distortion-proof safety track
- Clear audio quality and A/D converters capture every whisper and shout of a performance
- Records up to 96Jz/24-bit WAV or BWAV audio to SD card media
- Low cut filter and limiter to avoid noisy, distorted recordings
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From the manufacturer
Features at a glance
- Record to SD/SDHC card (Up to 32GB)
- Simultaneously record up to 4 tracks
- Record Modes: MONO, STEREO, DUAL MONO, DUAL STEREO, 4-CHANNEL
- Phantom power to channels 1/2 (24V or 48VDC on XLRF)
- Tripod mounting socket (bottom) and mounting screw attachment (top)
4-Channel Portable Audio Recorder for DSLR Filmmakers
TASCAM's DR-60DmkII, an update of the award winning DR-60D, is the audio recording solution for on-set filmmakers and videographers. The streamlined design fits perfectly under a DSLR camera rig, without relying on bulky recorders or the limited audio quality of the camera’s microphone in.
The DR-60DmkII is the next generation of 4-track solid-state recording, based on TASCAM’s decades of recording innovation. The upgraded HDDA microphone preamps provide up to 64dB of gain, capturing every nuance of a performance. Up to four channels at a time can be recorded to the internal SD Card, at up to 96kHz/24-bit WAV file resolution. Two of the mic inputs utilize locking XLR connectors with 48V phantom power, the other two use an 1/8” stereo connector for wireless and lavaliere microphones.
High-Quality HDDA Mic Preamps
High quality mic preamps are a necessity for high-grade sound. The DR-60D's HDDA mic preamplifiers (High Definition Discrete Architecture) employ discrete circuitry and premium parts, approved after months of evaluation testing. The HDDA s circuit achieves an incredibly high EIN (-120dBu) for the lowest noise level available. The DR-60DmkII mic preamps have been upgraded for up to 64dB of gain with new XLR input jacks for greater cable compatibility.
Every aspect of the DR-60DmkII is designed specifically for DSLR Audio for Video Recording. The keys of the unit are designed specifically for quiet operation to eliminate handling noise. The Slate feature is designed to mark tracks easily while in production. The input and output layout is designed for versatile use. Whether the device is used under a camera, on a rig or strapped around a solitary sound engineer, TASCAM's DR-60D will meet all on-site audio production needs.
Ch 3 & 4 Inputs Support High-Output Microphones
The channel 3/4 input connector supports a high-level maximum input – up to +10dBV. Many microphones designed for use with video cameras have a high-level output and a 3.5mm output connector. Plug-in power is also available for microphones that need it.
Lightweight Body Designed for Rugged Portability
The DR-60DmkII's body was manufactured with very rigid plastic for a durable but lightweight design. TASCAM understands how important weight is to steady camera movement when filmmaking. In addition to its light weight, the feature-rich DR-60DmkII is extremely compact. Only 5.25" wide, the DR-60DmkII won’t interfere with camera operation. All batteries can be replaced without removing the device from the Camera or tripod / rig.
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|Item Dimensions||5.24 x 3.07 x 3.67 in||1.5 x 6.25 x 2.75 in||6 x 9 x 3 in||6.7 x 4.5 x 2.3 in||7.95 x 6.93 x 2.12 in||2 x 6.88 x 5.38 in|
The Tascam DR-60DmkII 4-Channel Portable Recorder for DSLR is the new audio recording solution for on-set filmmakers and videographers using DSLRs. For years, filmmakers have been trying different methods for recording audio - including the use of bulky recorders designed for music and trying to transform the inferior audio technology built-into DSLRs. Now TASCAM has designed an answer that pros and amateurs alike have been waiting for. The DR-60D is a brand new 4-track solid-state recorder utilizing TASCAMs decades of experience. The recorder utilizes high-grade HDDA pre-amps, legendary AD converters, and a durable but lightweight structure and shape. This device will fit snuggly under any camera or into any rig, and record up to 96kHz/24-bit high quality audio straight to SD/SDHC media. Filmmakers have at their disposal two 1/4"-XLR Locking Combo MIC/LINE Inputs, 3.5mm Stereo MIC Input, Camera In, Camera Out, Line Out and Headphone Out. Both 1/4"-XLR Combo Inputs supply +48V Phantom Power and the 3.5mm Input supplies Plug-In Power for microphones requiring a bias voltage. The DR-60D is incredibly easy to use, employing TASCAMs very popular user interface and external controls for every major operation. The body structure, soft-touch keys and dials are designed specifically to help eliminate handling noise. The multiple record modes include, 4-Channel Record, Auto Record and TASCAMs Dual Record "Safety Track" Mode make the DR-60D one of the most versatile recorders on the market. Quality mic preamps are a necessity for quality sound. The DR-60DmkIIs HDDA mic preamplifiers (High Definition Discrete Architecture) employ discrete circuitry and parts, approved after months of evaluation testing by Tascam. The HDDA s circuit achieves a high equivalent input noise (EIN) of -120 dBu for low input noise. The DR-60DmkII mic preamps have been upgraded from their predecessor for up to 64 dB of gain with XLR input jacks for greater cable comp
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Let's say I need to record a piano, a singer, and a cello in one live take.
Vocal mic, straight into DR 60. Cello mic, straight into Dr 60. Stereo mic pair, running into a dual input preamp, sent out by a simple 1/8 stereo plug, into the 1/8 stereo input of the DR 60. and BAM, 4 channels, no syncing in post.
Then, run 1/8 stereo cable from the DR 60 into your DSLR, while you are filming said instrumentalists, and BAM, music video with no syncing in post!
Ok, so in terms of the actual performance of this unit. My biggest fear was the pre amp signal to noise ratio. I desperately did not want to have any hiss to contend with. The DR 40, when used with external shotgun mics, added an unacceptable level of hiss. So, since the DR 60 is a Tascam unit, I was concerened, But after buying it and testing it, I can assure you that the level of background hiss is as low as the ART dual pre, and almost as good as the Riggy Assist. In other words, the signal to noise issue with the DR 60, is not really an issue.
It sounds great. The Pre amps have really been upgraded and you can hear the difference.
The buttons and MILLIONS of features make this thing a complete joy to use. I am in love. It is also, tiny tiny. Like a little child's toy. Almost silly looking tiny.
It does have a plastic feel to it...like, "do not drop me" feel. So, don't drop it.
I am so happy I bought this thing.
btw, my background is, professional sound recording engineer/mixer/producer/music teacher/videographer, etc. also, professional cheapskate. so i like things that don't cost a billion dollars.
I also shot an interview style video using a shotgun mic hooked up to this. I had previously used a Zoom H1 for this type of thing and has issues with ambient noise. The shotgun eliminated the ambient noise and the Tascam was dead silent in the quiet parts. No buzzing or white noise at all!
I don't know that I'd consider myself a professional, but I know enough to get around and I was very impressed and pleased with how it performed. Would recommend to anyone!
The biggest issue I have is that it seems as if the headphone amp is noisy. When setting levels etc. I have found that with the gain turned up and the headphones turned up, where I can hear clearly, there is noticeably hiss. However when I play back the recorded files on my computer there is absolutely no hiss at all. The recordings are perfect. It is hard to adjust the levels using the headphones to determine the point at which there is no noise when the headphone jack is introducing its own noise at high volume. I have learned to trust that there is no noise.
My second issue is that although the unit is a 4-channel recorder there are not 4 fully independent channels. channels 1 and 2 are completely independent with separate gains, limiters, filters etc. Channels 3 and 4 however are combined together with the limit, gain, etc. controls affecting both channels equally all of the time.
My final issue is that when I record on all 4 channels I get 2 stereo files. Given that channels 1 and 2 are completely independent I would have preferred to get a separate file for each channel. But any way the channels are easy enough to separate in post production.
Most recent customer reviews
IMO one of the best values on linear pcms