Deity, a manufacturer of microphones and time code equipment, released a revolutionary recorder.
The Deity PR-2 Pocket Recorder (hereinafter referred to as Deity PR-2) is a small TC-synchronized recorder with 32-bit float (mono recording only) and 24-bit linear stereo recording functions. It can record continuously for up to 30 hours using two AA batteries (when using the company’s lithium batteries).
The Deity PR-2 – Ultra-compact with TC input/output and recording
The PR-2 is a palm-sized recorder. It records in 32-bit float for mono and 24-bit linear for stereo (unfortunately). In other words, it is a recorder that can synchronize time stereo and safety code.
It can be synchronized with the company’s timecode devices, and can also be connected to cameras, mixers, and distribution devices. It also has a TC in/out function, so it can be JAM synced with other devices, making it possible to synchronize with TC with many video devices and distribution devices.
This might make it seem like a smaller version of the ZOOM F6 or F8, or like the F2 with TC functionality. However, the PR-2 is a product with a completely different concept from previous recorders.
Deity’s smartphone app “Sidus Audio”. In addition to various settings, you can also sync TC, turn recording on and off, and listen to the sound on your smartphone.
Deity PR-2 Features included
- Mono/Stereo Recorder (Audio Input MIC/LINE & MIC/LINE Output with Plug-in Power)
- Time code generator (TC output: LTC and standard TC)
- Wired and wireless (Bluetooth: dedicated app) TC sync and JAM sync (TC input, LTC and standard TC)
- Microphone pass-through (see below)
Let’s take a look at each one.
First, regarding the recorder, please think of it as being equivalent to a normal recorder. Because it is highly functional, 32-bit float recording can only be used in mono mode. The microphone terminal supports stereo input, but if you insert a normal lavalier microphone, you can record in mono. Also, if you insert a stereo microphone and switch to stereo mode, stereo recording is possible. This means that you can use a normal lavalier microphone or a binaural (earphone) microphone.
It is worth noting that in mono mode, of course, but in stereo mode, you can adjust the gain separately for the left and right. In fact, there are few recorders of this size that allow you to adjust the gain separately for the left and right. The PR-2 allows you to adjust the gain separately, so you can adjust the left and right of a stereo microphone, and when you connect a wireless digital microphone, you can set the volume of the two microphones separately.
Next, regarding the TC function, all the basic functions required by professionals are installed. Audio TC, that is, LTC, can be output to cameras that do not have a TC input. In this case, normal audio from the microphone is output to the L channel and LTC is output to the right channel, so slate recording (sound from the scene is input to the camera) is possible.
Specifically, all you need to do is connect the output terminal (stereo jack) of the PR-2 to the microphone terminal of the camera with a stereo cable.
If a professional camera or recorder has a TC input, it is possible to output a normal TC signal. Also, the Sony FX3 and FX30 come with a conversion cable that sends TC to the control terminal (which can be used as a TC input), allowing for error-free TC operation.
On the other hand, it is also possible to synchronize with the TC output from another device. In this case, the microphone terminal is used for TC input, but the PR-2 is JAM synchronized with the LTC (audio TC) input from the microphone terminal. In other words, the TC from the external device is synchronized with the PR-2, and the TC cable is disconnected. JAM synchronization is a function that syncs the clock of the internal TC generator of the TC device, and once synchronized, the clock will continue to run even if the cable is disconnected.
JAM sync is a commonly used cable-less TC sync method, and it is possible to output TC from the PR-2 to a camera or recorder with a TC input function and JAM sync the camera or recorder. From experience, JAM sync does not cause TC to shift during normal shooting, but in a location where the power is turned on and off frequently, such as a movie, JAM sync can cause TC to shift. If possible, I think it is better to keep the connection wired.
Microphone pass-through is revolutionary.
Use it for backup with switchers or wireless microphones that don’t have recording capabilities.
Now, regarding TC synchronization, I would like you to think of the PR-2 as being the same as a general TC device, and I would like to explain the revolutionary feature of the PR-2: microphone pass-through.
There is a toggle switch (physical switch) between the microphone terminal and the output terminal of the PR-2. When this switch is tilted to the left, the output terminal is connected to the internal output amplifier, and audio is output to headphones or a camera. In other words, it is the same as the audio output of a normal recorder.
On the other hand, if you tilt it to the right, it becomes microphone pass-through. This is a mode in which the microphone terminal and output terminal are directly connected. This is revolutionary, in that you can place the PR-2 between the microphone and the audio equipment. For example, Sony’s UWP series, which is a standard wireless microphone for television broadcasting, does not have a recording function, but this function can be added to it. The pin arrangement of the microphone terminal of the UWP is special, so no sound will come out if you insert it into a normal microphone terminal. However, with the PR-2’s microphone pass-through, even if you place the PR-2 between the transmitter and the microphone, the transmitter will see it as just a microphone. The microphone itself is powered by the transmitter, and sound can be sent to the transmitter as usual.
And what’s amazing is that the PR-2 picks up and records only the audio from the microphone. Of course, TC information is added to the recording file (recorded on the microSD card inserted in the PR-2).
It can record not only with UWP, but also with general-purpose microphones such as the Hollyland LARK M2. Even if the PR-2 is turned off, it does not affect the connected microphone or audio equipment (camera), making it an ideal audio backup device.
When I use the M2 or DJI Mic2 with a streaming switcher, I use the PR-2 to back up the sound from each individual microphone. When using it with a streaming system, I also set it to mic-through mode and connect it to the M2 receiver output and the PR-2 microphone terminal, for example, and connect the PR-2 output to the switcher. In this case, the M2 outputs stereo sound from two microphones, but I set the PR-2 to stereo mode and record it with mic pass-through while sending the sound to the switcher.
Somewhat unique recording settings.
Once you know how to use it, there are many uses.
Well, when I actually tried using it, it was completely different from any other recorder I had used before, so much so that I thought it was broken and contacted the manufacturer.
First, the output terminal is so unique that it is confusing. In mono mode, it is the same as a normal recorder. However, in stereo mode, in normal output mode (non-mic pass-through), the sound sent to the headphones is mono with left and right mixed. Of course, the recording is recorded in separate stereo for left and right, but even if you connect headphones to listen to the recording, you will not hear it in stereo. Therefore, even if you record using a binaural microphone, the recording will be mono with left and right mixed.
However, when you switch to playback mode, the audio becomes stereo as recorded in the file. In other words, you are forced to listen to mono when recording, and stereo when playing.
Also, when I connected the standard Sony monitor headphones DSR-CD900ST, I couldn’t hear any sound from the right side (maybe it was just me). Perhaps the impedance (acoustic resistance value) of the connected device was measured and the output mode became TC output (unknown).
It is unclear why this specification is used, but it seems that because of the high functionality, the power of the built-in audio processor (DSP) is not focused on audio playback, but is instead allocated to controls such as TC. This is thought to be for the same reason that 32-bit float can only be used in mono. I suspect that the purpose is to avoid the DSP using a lot of power when doing a lot of work.
For recording ambient sounds like me, the mono output is a bit insufficient, but I’ve been able to connect a stereo or binaural microphone and use it for simple environmental sound recording without any problems. In any case, I’m very grateful for the size and the amazing battery life.
Deity PR-2 Smartphone Connections
The biggest attraction of the PR-2 is its remote control from a smartphone. Using the company’s TC app “Sidus Audio,” you can change various settings, check levels (displays level meters), turn recording on and off, TC sync, and TC settings.
What’s great is that you can listen to the sound being recorded on your smartphone. In movies, for example, you need to be careful of things like clothes rubbing against each other, so it’s essential to be able to monitor the sound being recorded, and the PR-2 lets you hear the sound via Bluetooth.
Furthermore, when using multiple PR-2s, you can turn recording on and off for all of them at the same time with the push of a button. In other words, if you use the same number of PR-2s as the number of people in a group, you can record each person’s voice during an interview, turn recording on and off, and even check the sound while you’re using the units. In that case, of course, the units are TC-synchronized, so it’s easy to line up the sounds when editing. This means that you can record interviews and performances by yourself, with multiple people, without having to use an expensive recorder with a mixer.
It also doubles as an audio interface via USB and
comes with a high-performance lavalier microphone.
It is equipped with a USB terminal, which can be used to supply power, and can also be used as an audio interface when connected to a computer. The microphone terminal of the PR-2 can use 5V plug-in power, so most condenser microphones on the market can be used. In fact, I use it as an audio interface, but the PR-2 can also be used while powering it from the USB-C. In the case of a Mac, it’s easy because it is a standard USB audio that is recognized simply by plugging it in. In the case of Windows, you can just use the driver provided by the manufacturer.
The PR-2 also comes with a lavalier microphone, which is also a very good microphone. The tip of the microphone is very thin and waterproof. It is very useful when you need to hide the microphone in a movie. The sound quality is excellent for a microphone of this class. The high tones are a little strong, so it is just right for picking up people’s voices.
A stereo microphone with two lavalier microphones is available separately. It has a long cable and can be used in a variety of ways. For example, it seems to be useful for interviewing two people. In movies, in addition to using microphones on people, it is common to hide a microphone in the shadow of an object on a desk (a standing microphone), and it is easy to use in such cases.
Review Summary
Regardless of whether you use the TC function or not, the PR-2 is highly functional, has a long battery life, and is very easy to use as a small recorder. It also has a low-cut filter, so it can be used outdoors with peace of mind. It is also partially waterproof, so it will be useful when used in conjunction with an action camera.
In any case, I record a variety of programs, broadcasts, movies, etc., and with the PR-2, I was able to solve many of the problems I had been having. Rather than being told how to use it, the PR-2 is a multi-functional recorder that can be used in a variety of ways depending on how you use it.
WRITER PROFILE
Sound engineer and technical writer. A former weekly magazine reporter, he now works in film sound and audio production. He provides easy-to-understand explanations of filming and recording techniques. His most recent publication is the “Sound Recording Handbook” (Genkosha). His pen name is also Sakurakaze Ryo.
