Curtis Judd 9/6/22 Curtis Judd 9/6/22

Focusrite Vocaster USB audio interfaces — Sound for Podcasts and Livestreams

In this week’s episode we have a look at Focusrite’s Vocaster USB audio interfaces made specifically for podcasting and streaming. These interfaces include 70 dB of gain range for the XLR inputs, Bluetooth connectivity, a 3.5mm input for mobile devices and a 3.5mm output for hybrid cameras — which is especially valuable for live-streaming. The included Vocaster mixing app allows you to create a right mix for live or pre-recorded shows. The 3.5mm input automatically creates a mix-minus so that your guests don’t struggle with their own sound echoing back to them. And there are even a few enhance modes to make your voice sound like you’re in a broadcast studio, if that’s your thing. Let’s take a closer look!

If you’d like to learn how to make great dialogue audio for your film and video projects, please have a look at my courses including processing dialogue audio in Adobe Audition and DaVinci Resolve/Fairlight, recording sound, how to use the Zoom F4, F6, F8, and F8n, and how to get the most from the Sound Devices MixPre series of recorders. Our latest courses cover Sound for Live Streaming with the ATEM Mini and an Intro to Izotope RX.

Support my work creating videos by donating at Ko-Fi.com.

Gear used or mentioned in this episode. The links below are Amazon.com, B&H Photo, Sweetwater, DVEStore, Perfect Circuit, Trew Audio or other affiliate links. As an affiliate, I earn from qualifying purchases:

- Focusrite Vocaster Two Audio Interface — Sweetwater, Amazon

- Shure SM7B Dynamic Microphone — B&H, Sweetwater, Perfect Circuit, Amazon

- Earthworks SV33 condenser microphone — B&H, Sweetwater

- Canon C70 cinema camera — B&H

- Canon RF 24-70 f/2.8L lens — B&H, Amazon

- Schneider Radiant Soft diffusion filter — B&H

- Panasonic GH5 — B&H, Amazon

- Panasonic 12-35 mm F2.8 Lens — B&H, Amazon

- Aputure P300C LED used as key light — Aputure, B&H, DVE Store

- Aputure LS 300X used for background light — Aputure, B&H, Amazon

- Aputure Spotlight Mount — Aputure, B&H, DVE Store. Amazon

- Rosco Gobo creates the pattern on the back wall — B&H

The intro and outro music for this episode is from Musicbed - “Dynamo” by Virgil Arles. Take your films to the next level with music from Musicbed. Sign up for a free account to listen for yourself.

Curtis Judd 5/22/15 Curtis Judd 5/22/15

What's the Difference Between a $200 Field Recorder and $900 Audio Interface?

https://youtu.be/TRoIMPHS91U I've been using a Tascam DR-60DmkII Audio Field Recorder to capture the audio for my film projects and am quite happy with the results in almost every case. And while I'm really happy with the Tascam, the DR-60DmkII isn't perfect. The build is quite plasticky and the battery life isn't amazing. So I attached a massive USB battery to the back of the recorder with industrial grade velcro and that powers the recorder for longer than I am able to measure (I suspect about 50 hours because I have to charge it every other month or so). And that's with the recorder phantom powering mics.

But why do the pros use things like Sound Devices and Zaxcom field recorders that cost thousands? Is it that the pre-amps are night and day better? Better build quality? Better analog to digital converters? Lower self-noise in the signal path? More audio processing features built-in?

Here's my guess:

More durable build quality as in solid metal or carbon fiber body, bigger, more durable potentiometers (the fader knobs)
Cleaner pre-amps with more gain
Better analog to digital and digital to analog converters. In practical terms this should result in being able to capture a greater dynamic range in terms of amplitude (just like on cameras where a camera with more dynamic range can differentiate between a wider range of luminance values and often makes for more pleasant highlight rolloff)
More routing options, and especially more pro grade outputs (XLR outs, sometimes just stereo, but sometimes even more). At a practical level, this makes it so that you can meet requirements that often come with higher budget shoots. For example, while you'll record the production audio on your pro-level audio recorder, you'll also send a stereo mix to camera
Often, more robust powering options either built-in or by using robust connectors for external batteries and AC adapters.
High quality timecode generators

I have my suspicions and I think it might be time to test two of these hypotheses: Cleaner pre-amps with more gain and better analog to digital converters.

To do that, I sort of wanted to dip my toes in the water without making a huge financial commitment. So the very kind folks at B&H have arranged to lend me a Sound Devices USBPre 2. No this is not exactly a field recorder, it is more of an audio interface that you would normally pair with your desktop computer. However, it has the same pre-amps and AD converters that all of the 7xx series recorders from Sound Devices have. So that allows us to compare the difference of those two dimensions in the real world.

The USBPre 2 looks like a pretty interesting desktop audio interface. In terms of specs, it is better spec'd than my current Focusrite Saffire Pro 24DSP in terms of AD dynamic range and amount of gain. But specs, of course, never tell the entire story. And in fact, this would be a step back in some ways from the Focusrite in terms of the signal processing that the Focusrite offers - real time compression and EQ. And while I don't use the EQ all that much, I do sometimes use that compressor when recording live like on Google Hangouts. No biggie. It isn't like I have to get rid of my Focusrite if I were to invest in the USBPre 2.

Its on it's way so standby for updates over the next few weeks and let me know if there are any specific questions or curiosities you might like to explore in the test.