I've had this excellent recorder for a number of years mostly using it as audio back up in case of a dropout when I was shooting with tape based cameras. I rarely ever used the internal mics although they were good to have. Recently one of the mics stopped working as well as the battery life has dropped down to about an hour instead of the 6-8 hours it used to get. Took it into Sony for an estimate. $350. (Purchase price was about $500) As I'd like to use it for recording audio with my Pocket Camera I am considering springing for the repair but for one thing. At least so far all Sony has said is that the diminished battery life "MAY" be caused by the mic issue. Not good enough for me. Will this repair bill address that or not? Going to press them on that.

So my question to people here, to those that are familiar with the D50, which recorder would you choose instead? I've read up on a number of comparably priced recorders but reviews seem to indicate that they're not as clean as this Sony.

Thanks for any input.

BTW, I'm on the hook for a $120 evaluation charge from Sony even if choose not to repair. Hence, part of the reason why I'm considering it. On the up side this is applied to the repair if I go that route.

I've got the PCM D50 and the pocket cam. I was using the D50 before for recording external audio when I was shooting with my Nikon. Now with the pocket cam I'm sending the external mike to my mixpre and then directly into the pocket camera. I love the sound quality of the Sony and will continue to use it with the Nikon.

I suppose some kind of short with the internal mic could be drawing energy faster.... Is the battery life still short when using an external mic?

BTW, Sony is now coming out with a new PCM D100 that improves some on the D50. It's expensive, listing at $799. I think I would look for a pcm D50 on the used market. A good deal would be about
$350. Depending on your familiarity with electronics, one might be tempted to take it apart and see if there were any obvious shorts or disconnects or burnt components.

Another consideration is to use some kind of external power to the Sony. You could do that for around the $100 range. You could get your recording time back that way.

Thanks for the reply Stephen. I agree, it is conceivable that the mic issue is the cause for the battery drain, I just don't want to see Sony using the wording of their email as an "out". From what they've told me it would be $200 for parts to replace an AD board and a printed circuit and $150 for labour. I doubt they'd deduct the evaluation fee from the cost of the part so doing it myself doesn't seem worth it.

The battery life does drain when using the mics. I did hook up a C cell battery pack to my D50 to see how long it would last but it was only marginally better than the AAs. Anything bigger than C cells seems cumbersome.

Wondering how you send the signal from your mixpre to the pocket. I've also got a mixpre and I was about to purchase one of these. Sescom LN2MIC-PCDM50 Line to Microphone LN2MIC-PCDM50 B&H Photo

I am aware of the D100 but would rather spend the extra cash elsewhere if possible.

Jase,

You don't need an attenuator. The pocket likes a hot signal. Just set the pocket to receive a line input in the menu. I bought a double female xlr to stereo 3.5mm splitter cable to feed both mixpre signals to the pocket (for studio use). You may find that you really don't need the external recording with the mixpre going to the pocket. Nice to have the D50 in good shape though.

Steve

Yes, it would be preferable to send 'line level' to the recorder.
This applies to almost all preamp/mixer> recorder scenarios.

Jase,

You don't need an attenuator. The pocket likes a hot signal. Just set the pocket to receive a line input in the menu. I bought a double female xlr to stereo 3.5mm splitter cable to feed both mixpre signals to the pocket (for studio use). You may find that you really don't need the external recording with the mixpre going to the pocket. Nice to have the D50 in good shape though.

Steve

Makes total sense. I got so used to sending from the "tape out" on the mixpre, using the xlr out to my old camera that I didn't consider this.

I presume you have cleaned all the battery contacts and ensured there is nothing causing a short circuit. I have just purchased a Zoom H6 recorder to use in tandem with the D50. I have never liked the mikes on the D50, they pick up any slight breeze.

Yes, I did. No apparent shorts. How do you find the H6 compares to the D50? Mics aside, that is.

I have only had the H6 for a short while but find the features and functions far better than the D50. I did a comparison with the D50 and H6 and the H6 has a nicer sound quality. It also has 4 XLR inputs as well as the Xy and MS mikes. I also like the Backup recording feature, this records a second file at -12db One slight thumbs down (so far) is the noise that you get with the MS mike, however this can be easily cancelled in your EQ. All in all I personally think the H6 is better than the D50. I will still use the Sony for various projects and as a side/ambient mike for stage productions.

The other plus point for the H6 is that it uses SD cards, I have a 8gb card fitted, it stores stacks of stuff, ideal for the backup files too.

I've had this excellent recorder for a number of years mostly using it as audio back up in case of a dropout when I was shooting with tape based cameras. I rarely ever used the internal mics although they were good to have. Recently one of the mics stopped working as well as the battery life has dropped down to about an hour instead of the 6-8 hours it used to get. Took it into Sony for an estimate. $350. (Purchase price was about $500) As I'd like to use it for recording audio with my Pocket Camera I am considering springing for the repair but for one thing. At least so far all Sony has said is that the diminished battery life "MAY" be caused by the mic issue. Not good enough for me. Will this repair bill address that or not? Going to press them on that.

So my question to people here, to those that are familiar with the D50, which recorder would you choose instead? I've read up on a number of comparably priced recorders but reviews seem to indicate that they're not as clean as this Sony.

Thanks for any input.

BTW, I'm on the hook for a $120 evaluation charge from Sony even if choose not to repair. Hence, part of the reason why I'm considering it. On the up side this is applied to the repair if I go that route.

No contest - replace it with the new Sony PCM-D100 (http://www.sony.co.uk/pro/product/broadcast-products-professional-audio-portable/pcm-d100/overview) - the bonus is that Sony, hopefully, will waive the fee for non-repair if you replace it with a new Sony (which is a better unit).

I have only had the H6 for a short while but find the features and functions far better than the D50. I did a comparison with the D50 and H6 and the H6 has a nicer sound quality. It also has 4 XLR inputs as well as the Xy and MS mikes. I also like the Backup recording feature, this records a second file at -12db One slight thumbs down (so far) is the noise that you get with the MS mike, however this can be easily cancelled in your EQ. All in all I personally think the H6 is better than the D50. I will still use the Sony for various projects and as a side/ambient mike for stage productions.

Thanks for the input. Good to hear all this. I went to a local vendor yesterday. Certainly not the build quality of the Sony but if it performs then it performs. A little larger than I'd like. Do you happen to know if you can still use the various inputs if you detach the mikes? You'd think you'd be able to but the salesman didn't know and I didn't have time to try that out.

@ John. I have no doubt there'd be no contest but for the price. If it had XLRs I'd consider it. Not that the D50 either, that was its one significant shortcoming. Have you tried the unit? I don't believe its available here just yet.

Thanks for the input. Good to hear all this. I went to a local vendor yesterday. Certainly not the build quality of the Sony but if it performs then it performs. A little larger than I'd like. Do you happen to know if you can still use the various inputs if you detach the mikes? You'd think you'd be able to but the salesman didn't know and I didn't have time to try that out.

Yes, you can use the XLRs without any of the option modules attached.

Note that the 1/8" (3.5mm) stereo input is on the XY mic module, not on the body of the recorder.

I did a poorly level matched comparison of the D50 and H6 on acoustic guitar: Zoom H6 – Acoustic Guitar Shootout | Homebrewed Music (http://www.homebrewedmusic.com/2013/08/15/zoom-h6-acoustic-guitar-shootout/)

Fran

That is good to know. Not a deal breaker re the 1/8" in. I have to say that I did like what I heard on your site. Thanks, Fran.

Jase, as a fellow Vancouverite I can tell you - talk to Guy Cochrane at DVEStore in Marysville, WA. Better price than the local YVR shops will give you with better service likely.

I don't mind paying the premium for local service if I get value added, like consultation or a trial but if I have done all MY homework, it's lowest price with best service and that is Guy!

@ John. I have no doubt there'd be no contest but for the price. If it had XLRs I'd consider it. Not that the D50 either, that was its one significant shortcoming. Have you tried the unit? I don't believe its available here just yet.

I'm trying to get hold of Sony to get one - I want to use it as a "bit bucket" with an AETA MIXY and also having it available to use on its own as a great flexible recording kit that's also capable of the very highest quality recording.

.

Jase, as a fellow Vancouverite I can tell you - talk to Guy Cochrane at DVEStore in Marysville, WA. Better price than the local YVR shops will give you with better service likely.

I don't mind paying the premium for local service if I get value added, like consultation or a trial but if I have done all MY homework, it's lowest price with best service and that is Guy!

Hi Shaun

Thanks for that. Guy's store is somewhere I've been meaning to visit but somehow just don't get to it. So good to get the reminder. His web site doesn't list the H6 but I'll call and see what he does have.

That said, I've noticed certain local YVR stores have become much more competitive of late in some cases beating out well known on line retailers. Feel free to contact me if you want to know more.

I'm trying to get hold of Sony to get one - I want to use it as a "bit bucket" with an AETA MIXY and also having it available to use on its own as a great flexible recording kit that's also capable of the very highest quality recording.

.

Once you do get it, please let us know what you think.

What on earth is this High Rez audio all about? Sony still haven't put XLR ports on this device, a short-sighted omission. Jase, yes you can use the H6 without the microphone modules, just use any of the four XLR ports. Don't get me wrong, I still love the Sony PCM D50, and wouldn't even consider getting rid of it, I just think technology has moved on since I first purchased it, the D100 does look interesting but it doesn't seem to offer much more than the D50 (at first glance). Glad to see Sony now uses SD cards and can record in MP3, not that I have ever found the need to record MP3 files

No doubt this will limit their sales.

To Sony's credit, after several emails and a phone call, they have offered to return the D50 as is and waive the evaluation fee which is what I will do. No wish to blow my own horn but its not the first time I've stood my ground with a major corporation and eventually got them to see my pov. I suggest others should always do the same. Its a hassle but worth it.

I took Shaun's advice and phoned the DVE store. Guy wasn't there but spoke to his associate who recommended the Roland R-26. (they don't presently carry the H6)

So now its a choice between those 2. Haven't held a Roland in my hand as yet but I will say I think I'll like its actual build better than the H6 which I didn't care for and apparently the meters on H6 aren't the easiest to see. But the bottom line will be quality. I've read of some criticism abut the R-26's pre amps and of course it has 2 less XLR inputs although that would hardly ever be a consideration for me.

A shortcoming with the R-26 is that it only has headphone out. I didn't say this previously but I'd also want to use it with my GH3 which only has mic level in but I guess with using a pad and then going directly from the mix pre to the camera as well as the recorder will take care of that. Working mostly as a one man band, so redundant audio recording at different levels gives me a peace of mind I'm not willing to let go of.

Thoughts re the R-26 vs. the H6?

Try this

Audio Recorder Shootout! Part 1: Hardware: Roland R26 vs Tascam DR-60D vs Zoom H6 - YouTube

I haven't seen the review yet

This is part two

Audio Recorder Shootout! Part 2: NT5 Mic Audio: Roland R26 vs Tascam DR-60D vs Zoom H6 - YouTube

Impossible to make a noise evaluation due to the low volume.
Other than that, the mic sounds decent in that environment. The Zoom seems to be a few dBs lower in the upper mid-range than the Roland and Tascam.

I agree. He went to a certain amount of trouble but neglected a fundamental thing.

What on earth is this High Rez audio all about? ...

There's a widely held fantasy that bigger numbers make better audio, as in 96k is better than 44.1k so by the same logic 192k is even better and therefore 2.8 M is way way better!

This fantasy only holds if one can ignore the fact that no one has ever demonstrated that humans can discern the difference between 44.1 and any higher sampling rate or "hi rez" technique in well controlled double blind testing. And apparently many folks are able to ignore that fact.

So marketers are obliged to take advantage of this widely held fantasy.

Fran

96k IS better than 44.1. No Fantasy at all.

The question is whether ones ears are good enough to hear the betterness!

One's ears, the lowpass filter in one's soundcard, one's power amplifier, one's speakers --- and, oh yeah, one's microphone, one's mixer (if any), one's recorder, and the source material.

(OK, kick me, I'm just playing devil's advocate.)

And lest someone remind me of this... yes, as I've said before, I seem to find that at least some kinds of DSP do work better with a 96k sample rate.

96k IS better than 44.1. No Fantasy at all.

The question is whether ones ears are good enough to hear the betterness!

All 96kHz sampling does is to extend the audio frequency response to about 40kHz instead of the 20kHz upper limit of 44.1/48kHz.

That's all it does.

It was used mainly to avoid having to use brick-wall filters at 20kHz - you could use more gentle filters which did not ripple down into audio frequencies.

I do use 96kHz (or 88.2kHz) mainly for recording - however, with a hand-portable recorder with internal mics there is no point at going to 96kHz and I record at 44.1kHz when using these.

We should all aim to get the maximum quality from audio, film, or other equipment - no question as to that. However, having seen how people listen to audio or watch films, I am wondering if we are becoming too obsessed with the finer points. Recording at 96 kHz can be an overkill if the production ends up being listened to on a portable radio or through the TV speaker. Yes, in the cinema we may get the full sound quality experience, however, the woman sitting behind munching away through her bag of chips (crisps) or tub of pop corn does cancel out some of the finer quality we are all striving for.

To get back on track, the H6 is a great little recorder, perhaps a bit bulkier than some others, but the sound quality is all there. The Sony D100 does look like a worthy upgrade to the D50 but it also has its shortcomings for professional recording - namely no XLR inputs, and higher price tag. For me the D50 and H6 do everything that my productions require. The Sony mikes are far too sensitive to use on location, even the slightest breeze causes a hefty rumble, the H6 is far better in this respect.

96k IS better than 44.1. No Fantasy at all.

The question is whether ones ears are good enough to hear the betterness!

Actually the first question is whether someone can demonstrate the ability to differentiate them in double blind comparison to a statistically significant degree.

Please give me a reference to such a demonstration.

With all respect, I can easily find people who will attest to an audible improvement by using little pyramids to keep speaker wires suspended above the floor.

Fran

"With all respect, I can easily find people who will attest to an audible improvement by using little pyramids to keep speaker wires suspended above the floor. "

You hit the nail on the head Fran, I remember a friend telling me to put a square of silver foil between the tweeter and midrange speakers, "it would improve the high notes" I could never tell the difference or see why that should work. My wife tells me that there are many people who enjoy "tinkering" with settings and equipment, which is also a valid point, I guess each person will find something that gives them pleasure and who am I to question that.

Yes, like putting a blue ink stripe around a CD would improve the quality. Many, many instances of 'snake oil' audio products.. most of which cost exhortation amounts of $$.

People have no idea what they're buying. Consider all the 2-way computer speaker systems that have a pair of main speakers and one "subwoofer." I always thought that you needed a woofer first, then the subwoofer covered frequencies below that. But nobody seems to question having a "sub" without first having a woofer.

Better yet, just put some powerful-sounding word in front of the product, like "Monster," and it will make everything sound 4.37dB better... IMHO of course. ;-)

@ John. I have no doubt there'd be no contest but for the price. If it had XLRs I'd consider it. Not that the D50 either, that was its one significant shortcoming. Have you tried the unit? I don't believe its available here just yet.

I bought the Denecke PS-1A XLR power supply to feed xlr mics into my Sony PCM-D50.