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Mini-Review |
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SONY'S TCD-D8 Portable DAT DECK
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The
TCD-D8 is Sony's portable stereo audio recorder that succeeded the
TCD-D7 in 1993.
This
deck has one new major feature (over the previous D7 model),
44.1K analog recording (the standard CD rate allows unconverted
direct to CD or digital workstation audio input). Unlike the
D7, Sony now includes an AC adapter & cleaning tape but, still
supplies no analog or digital interface cables. |
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As
with the previous D7 model, the new D8 most notable feature is
still the ability to record 4+ hours on (4) AA Alkaline cells!
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NOTE:
Head life on these decks seems only about 500 hours,
so best use is mostly for field recording and one time recording
transfer to computer/CD if no second standard size DAT deck is available
for frequent (second generation backup) tape playback.
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TCD-D7/8
RECORDING TIP#1: To consistently get the maximum
recording time (4hrs), set the Phones/Line switch
to OFF, do not plug anything into the phones/line jack before/after
turning the deck on. |
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TCD-D7/8
REC. TIP #2: The TCD-D7 & D8 has
a complex headphones/line output switching scheme that
provides battery saving management and uses only (1)jack for both
headphones or line output. A 3-position Switch (AVLS ....
....OFF....LINE OUT) provides (3) three analog output choices
switched into operation ONLY when a plug is inserted into the
output jack.
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NOTE:
Removing the output plug turns off the output.
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The
phones output is dynamically compressed automatically to 'ear safe'
limits in the AVLS position; but in OFF, will allow maximum dynamics
with 2 volt P-P MAX @ VOL#20. In other words, if you want Phones
only output, plug in the headphones with AVLS or OFF selected. To
change output from PHONES to LINE, 1st unplug the phones,
switch to LINE OUT, THEN plug-in the line cable.
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VERY
IMPORTANT: LINE LEVEL operation
MUST HAVE LINE OUTPUT SWITCHED (to
full right ON position) BEFORE
INSERTING THE LINE PLUG!!
The
LINE OUTPUT position allows a very respectable 6 volt P-P (+8.8dBm)
output signal. If you don't have the LINE position when
plugging in, the output will clip and distort @ Headphones
2 volt maximum peak.
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NOTE
ALSO: The TCD-D7/8 has NO ON-OFF switch!
These decks automatically turnoff in 2 minutes when no
tape is running and no function button is pressed....However...with
NO TAPE INSIDE, instant turnoff occurs (D8 only) by operating
the HOLD function.
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The
new D8 has slightly quieter preamplifier (verses D7) and still of
good quality. Most Sony mic. portable mini-deck preamplifiers
have been noisy at high-gain. Unfortunately, D7/8's quieter
preamp has 6dB less gain in the (L)low gain mode over the earlier
WM-D6C & TCD-D3 decks. Those of you who record acoustic
sounds (with small microphones) will use the (H)high gain
mode frequently giving a bit less safe headroom.
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NOTE:
The mic. preamp's bass response is -3dB down at ~ 20Hz only
when in (H)hi-gain; however, in (L)low gain it's only -3dB @ ~ 7Hz;
and only -1dB at 20Hz. |
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The
TCD-D8 resists infrequent overloads of short duration with good performance.
However, frequent constant VU REC levels above -12dB
produces an audible 'soft' distortion (very audible above -6dB
VU). Sony still recommends that VU peak indications (during
recording) be best kept to -12dB to avoid momentary 'overload'
distortions. |
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It
does seem that keeping the frequently occurring program peaks
at -12dB produces the best sounding recording with D7/D8 DAT decks.
This -12dB VU recording limit for best quality sound recording
is apparently consequence of +4 hour penlight cell power recording
time and a 'consumer' design approach that still allows Real Professional
Quality (RPQ) in a pocket sized affordable DAT DECK if only the
recordist allows for these known limitations. |
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D7/8
RECORDING TIP #3: MIC (H) Sensitivity
position (the mic. preamp. Hi-Gain setting)
is for voice and natural low level loudness sounds, and easily
overloaded to produce clipping distortion when recording percussive,
amplified, or industrial sounds.
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Avoid
1st mic stage preamp clip distortion by switching to (L) SENS
(low preamplifier gain) when the manual REC LEVEL knob is being
set to #4 and below; meaning the mic preamp input gain on
the mic signal is too much.
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1st opportunity, switch to (L) Low gain position and advance the
REC LEVEL knob to (~7) for proper VU peaks at -12dB. |
NOTE:
MIC SENS must be set properly for all MIC inputs (not
Line), even when in ALC position.
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Other
notable features: Date/Time Tape Encoding and Auto Level Control
(ALC) with (2)two modes: Voice or Music. The music setting is unprecedented
as it works for some music types quite well. [NOTE: MIC SENS. (H)/(L) is
always manually set] This means that from Rock to Brazilian to Reggae you
could forgo monitoring the VU level. The very fast attack/very slow
release music ALC setting is sufficient to keep 'level-pumping' inaudible
with rhythmic music only; that is, a quick/constant bass beat but, not for
most jazz and not at all for classical type music. Reports of audible 'distortion
type effects' when using the music ALC setting on the previous D7 model
suggests caution in using any ALC for best overall recording quality. However,
the Voice ALC setting is perfect for news reporters, interviewers, and documentary
researchers who cannot allow the distraction to monitor VU recording levels.
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ALC
SUMMARY: ALC reduces signal peaks to well below -12dB (as
indicated by the VU); not at the -12dB I would manually choose for VU peaks.
Also, some recordists tried music ALC setting and report audible 'distortion'
that's not heard in manual. |
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Remember:
ALC function is strictly for the recordist's convenience when viewing
VU levels is too distracting or impractical.
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Missing
features include: Display of program selection elapsed time,
erase/add or auto-renumbering of ID's after recording. These function
omissions are regained with the RM-D3K ($200.-) system adapter kit with
remote control for TCD-D3, TCD-D7/D8 decks; of course, recorded tapes
should be full-size-DAT-deck-played to perform these missing functions.
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Also,
D7/8's HOLD lockout switch prevents useful non-interrupting functions
from operating like turning on the display backlight, manually recording
a Start ID, headphones volume adjustment, and most everything else. |
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This
lockout of primary non-interrupting convenience features remains a Sony
oversight!! In addition, the headphones amplifier is very weak.....not
able to drive long corded Prostyle headphones, however, Sony's pro-performance
MDR-D77 ($185.- stocked by Sonic Studios) headphones do match this deck
perfectly. |
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TCD-D7/8
RECORDING TIP #4: These decks can error upon startup (rarely
a problem on latest D7/8's) especially after changing the batteries, giving
no operation error code. One of two things likely occurred, a miss-loaded
tape or the internal microprocessor system got illegally stuck!
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The
Solution: 1. Completely remove
power for a least (5) seconds by removing the external power plug.....and....or.....the
internal 4-cell battery pack. Re-powering the deck usually clears
the error; although.......sometimes several cycles are needed if power
is restored too soon ...or...the deck is indeed defective & needs
repair service................
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2.
Carefully remove the tape from the deck checking for tape that's caught
up inside & trailing out of the cassette. If so, the tape may be defective
(at least the exposed tape section is now damaged) and another cassette
should be used in any case. |
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In
conclusion, I still like the TCD-D7/8's small size (easily fits front
pants pocket or compact carry bag, uses only (4)AA cells, the quality
mic preamplifier, robust durability (only in supplied jacket case), and
notation of date/time. The D7/8 has proven it's durability in
field usage from high mountains to humid jungles where most decks quit.
Even with those 'Quirky' (often times self-defeating) automatic
functions, I've found these decks good robust performers (I've dropped
mine 3 times & Sun-baked it once at a concert without malfunction)
that make great sounding hi-quality recordings rivaling those made on
Pro-portable decks.
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What's
on Sonic Studios Web Site?
(Click underlined text, and navigation photos)
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DSM™
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Patented
Stereo-Surround Microphone Technology
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Passive
DSM™ Mic Powering/Bass Filters
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Eyegear/Headband/HRTF
Baffle mountable matched omni mics
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Stops
wind blast noise; transparent acoustic design; records real wind
sounds
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for
MD, DAT, CF, HD, and Video Field/Event/Studio Recording
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HRTF
RECORDING
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Stereo-Surround
Omni Mic Baffle for Stand, Fishpole, Studio Boom, and Ceiling
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RECORDING
ACCESSORIES
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Portable
Deck Power Solutions
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Patch/Adapter
Cables
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Field/Studio
Monitoring Headphones, Reviews
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High-definition,
low noise, very wide bandwidth preamp designs to fit any field/event/studio
application using DSM™ stereo-surround mics.
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MONO
ONLY 'Lombardo' Lapel Mic for interview, Narration, Lecture,
and clip-on acoustic instrument Recording
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DSM™
Magazine Reviews
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USA
Toll Free:
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1-877-347-6642
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Telephone
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541-459-8839
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E-mail:
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ALWAYS INCLUDE an appropriate
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