Tascam
Tascam DR-60DmkII 4-Input Multitrack Field Recorder Bundle
★★★★★
Four-track 96kHz/24-bit field recording with HDDA preamps and a dedicated camera output gives DSLR filmmakers a broadcast-grade audio chain that fits under the lens.
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Overview
Specifications
Recording Channels
4-Input / 4-Track
Preamps
HDDA Mic Preamps, up to 64dB gain
Max Recording Resolution
96kHz / 24-bit WAV
Inputs
2x XLR/TRS Combo (with 48V Phantom Power), 1x 1/8" Stereo Input
Outputs
Camera Output (3.5mm), Line Output, Headphone Output
Recording Modes
Four-Channel, Dual Recording (safety track)
Power
4x AA Batteries
Bundled Accessories
Tascam TH-02 Headphones, 32GB Memory Card, 2x 10ft XLR Cables, 4x AA Batteries, 2x Cable Ties
Pros & Cons
👍 Pros
- HDDA mic preamps reach 64dB of gain with low coloration, handling condenser and dynamic microphones without requiring a separate preamp in the signal chain.
- 96kHz/24-bit WAV recording captures the full dynamic range and frequency content needed for post-production processing, ADR replacement, and archival-quality audio.
- Dual Recording mode simultaneously captures a safety track at reduced gain, providing an automatic backup against clipping on unexpected loud transients — invaluable on location.
- Dedicated camera output with adjustable level lets the DR-60DmkII serve as both the primary recorder and a scratch-audio feed to the camera simultaneously, maintaining timecode sync in post.
- The bundle includes two 10-foot XLR cables and a 32GB high-capacity card, eliminating the most common accessory gaps that delay a first-day field deployment.
👎 Cons
- Phantom power is not switchable independently per channel on the DR-60DmkII — both XLR inputs are on the same phantom power circuit, creating a risk when pairing a condenser with a ribbon mic on the same unit.
- The unit runs on 4x AA batteries, which have finite runtime in cold-weather environments and require carrying spares on longer shoots — no internal rechargeable battery option is available.
- The 1/8" stereo input adds a third audio source, but its preamp quality is noticeably below the HDDA XLR inputs — it's a utility input, not a primary recording path.
- The DR-60DmkII's physical design is optimized for mounting beneath a DSLR on a 15mm rod system; mounting configurations outside that form factor require additional adapters and are less elegant.
- Recording to SD card requires careful card compatibility checking — not all high-capacity SDXC cards are certified at 96kHz/24-bit four-track recording speeds, and the bundled card represents the safe baseline.
Frequently Asked Questions
How clean are the HDDA preamps at high gain settings, and will I hear noise floor on quiet sources?
The DR-60DmkII's HDDA (High Definition Discrete Architecture) preamps offer up to 64dB of gain — which is enough headroom for ribbon mics and dynamic mics in quiet environments. At maximum gain settings, a low but audible noise floor becomes apparent, particularly with high-impedance dynamics. For condenser mics with healthy output levels, the noise floor is well-controlled; for ribbon mics requiring extreme gain, it's worth monitoring carefully before committing to a take.
Does the DR-60DmkII supply phantom power, and is it switchable per channel?
Yes — both XLR/TRS combo inputs supply 48V phantom power. Phantom power is switchable, but it applies to both channels simultaneously rather than per-channel independently. If you're running a condenser on one channel and a dynamic or ribbon on the other, be aware of this limitation — feeding 48V into a ribbon mic without a blocking transformer can cause damage.
How does the camera output work, and what level does it send to the camera's 3.5mm input?
The dedicated camera output is a 3.5mm connector that sends a line-level or attenuated signal designed to feed a DSLR or mirrorless camera's mic input. The output level is adjustable so you can match it to the camera's input sensitivity — this is critical for preventing clipping at the camera's ADC while maintaining a clean scratch track alongside the recorder's higher-quality WAV files.
What does Dual Recording mode do, and why does it matter for location audio?
Dual Recording captures each input simultaneously at two different gain levels — a primary level and a safety level set 6–12dB lower. If the primary track clips on an unexpected loud transient, the safety recording preserves a clean, lower-level version of the same moment. For interviews, live events, or any uncontrolled environment where unexpected loud sounds occur, this is the single most important safety net the DR-60DmkII offers.
Is the bundled TH-02 headphone sufficient for critical monitoring, or is it just a starter accessory?
The Tascam TH-02 is a closed-back headphone with a 32-ohm impedance and a relatively flat, detailed low-end response for its price tier — it's a workable monitoring tool for confirming signal presence and catching clipping or interference. It won't replace a studio reference headphone (MDR-7506, DT 770 Pro) for critical listening, but it is genuinely functional for field monitoring rather than being a throwaway bundle inclusion.
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