A New Sound for Mixdown: TASCAM's DV-RA1000

I just love new gear. Opening the box, unpacking the wrapping, smelling that new gear smell, and yes – I even like to read the manuals (scary). This time, however, I was a bit more excited than usual. Arriving at my studio recently, the Tascam DV-RA1000 got a good workout from the first power up. Offering a fundamental leap in affordable hi-resolution technology, it may even change the way many of us capture our stereo mixes in the near future. This dual rack-space High Definition Audio Master Recorder records hi-res stereo audio on low-cost removable DVD media. Think of it as a CD recorder on steroids – without a hard drive. While you can record and play back standard Red Book 16/44.1 CDs, the real fun begins when placing a DVD+RW disc into its tray. After a simple formatting procedure, you can easily capture stereo 44.1, 48, 88.2, 96, 176.4 or 192kHz sampling frequencies at 24-bit resolution.

Above: Getting high... resolution.

Working directly with Sony, Tascam has also made this unit capable of recording DSD (Direct Stream Digital), for use with SACD technology. The A/D (Burr Brown PCM 1804) and D/A (DSD1792) converters actually output true DSD resolution –creating DSDIFF files on the DVD media. This is the standard file used for DSD recording and can be read by DSD computer systems such as the Sony Sonoma and Philips SA-CD Creator. There are many ways to get in and out of this unit. For analog connections, you can use the XLR jacks at +4 dBu or the RCD for –10 dBV gear. In Digital land, use the RCA pin jacks for S/PDIF connections up to 96kHz (double speed), or the XLR Digital jacks for AES/EBU gear. When working in double frequency mode, you can use either one XLR connector at double speed or two connectors each at normal speed (double wire). For 176.4 or 192 kHz modes (quad frequency), both connectors are used at double speed. For DSD, the dual BNC connectors accept and output data in the BNC SDIF-3/DSD-raw format, with each connector carrying one channel of the stereo pair. Additional connections on the rear panel include three BNC connectors for word sync (In, Out, Thru), CONTROL I/O for RS-232C serial control, AC POWER, REMOTE IN for the included wired remote and a USB (2.0) connect for use with a computer. The USB port is quite cool because the unit will appear on a computer as a mass storage device without the need for a driver. The computer can then be used to read data files from the RA1000’s loaded discs.

Above: The DV-RA1000's back panel, full of the I/O you want.

The front panel features a large screen with all relevant info on it (meters, times, sync, digital/analog, etc.), a headphone jack with rotary level dial, standard transport controls and a nice big Jog/Data wheel. There are five soft function keys (F1-F5) for various screen related functions, a mark key for marking ID’s in real-time and a display key to cycle through track elapsed, track remaining, total elapsed and total remaining time. Then there are three additional keys for MENU, ENTER and CANCEL functions, as well as EFFECT, MONITOR, FADE and SYNC REC keys. As you might expect, clock is important when working in digital mode. When recording DSD, the DV-RA1000 and all other digital gear in the chain must be synced to a common clock. You can choose to have the Tascam be the master (always at 44.1 kHz) or sync externally with a signal connected to the WORD SYNC IN terminal. Choosing important settings such as clock or input type is done via the Menu key and Jog wheel. This unit is quite deep, and there’s even an onscreen virtual panel with selectable functions such as Mono, an Oscillator, choice of ‘assemble’ mode, and a dither function. General preferences such as Meter Release Time, Ref. Level, Calendar and Date are in the System Setup – also accessible via the Menu key and Jog wheel.

Above: You have to love blue LCD displays. It's some kind of law.

The DV-RA1000 is definitely a RTFM (Read The F#%$*ing Manual) piece of gear. The options are many and the basics can be quickly learned – but to get deep into the machine will take a bit of effort. For example, you can name every disc and individual take with the onscreen functionality, but it’s much easier to simply hook up a PS/2 keyboard. For those delivering final masters, the unit features a 3-band EQ with a fully parametric mid-band, dynamics processing and editing capabilities. The effects, if you choose to use them, can be inserted when recording or upon playback – a nice touch. I first used the unit by recording a standard 16-bit/44.1 kHz CD, connected via AES/EBU to my Pro Tools HD192 I/O. I simply hooked it up, put in a blank CD, selected digital input and away I went. Next though, I formatted a DVD+RW disc (about a half hour process) for 24-bit/192kHz recording. Hooking up a pair of Earthworks QTC-1’s into my Demeter preamp, I checked out the converters by a doing simple, pure, hi-res analog recording. Operating like a standard tape machine, it was thoughtless – and most importantly – sounded huge. After this successful run, it was time to try it out on a real session. Working out of Clubhouse Studios in Rhinebeck, NY, engineer Paul Antonell was tracking TV composer Peter Primamore’s newest release. It was truly an "A-list" session, with a NYC string quartet, two woodwinds, percussion and piano. Tony Levin was on acoustic and electric bass, Jerry Marotta on drums and Chieli Minucci from Special FX on guitar. Scarily for all, it was to be captured live, with most of the players except drums/perc the live room. We tracked it for surround at 96kHz, then ran the mix out into a Neve 8058 MK II. The stereo console mix was then output to the DV-RA1000 at 24-bit/192kHz. Luckily for me, the recorder worked flawlessly. It gave me a chance to quickly learn some additional important functions, such as selecting track elapsed time and remaining time while recording. That led to knowing that you can get 66 minutes of recording time at 24/192kHz on a 4.7 G DVD+RW. In DSD mode, you can get 107 minutes; 290 minutes @ 44.1 kHz, etc. I ended up using a single DVD per song, and I like the fact that you can put a disc back in and pick up recording right where you left off on the last ID. Again, it boils down to the sound, and the Tascam delivered. We all remarked how smooth and airy the top was, as well as the warmth of the bottom. Overall, it was what I expected and more – due to its high quality sound and simplicity of use. I can envision many applications for the DV-RA1000. Live concerts are a no-brainer, and the low price point would easily allow for multiple redundant units to record different feeds. In the studio, it’s already proved itself a capable and flexible performer. I’ve begun capturing all my mixes at high resolution – both for my final masters and for archival backups. Mastering houses will surely pick up a unit to have on hand for mixes that come in on hi-res DVD+RW discs. Kiss that DAT machine goodbye!