Makin' Tracks: Audio Tape Recorders

Consumers are indeed tuning their ears to the soundtracks of their videotapes. TV monitors have better speakers. VCRs can play theater-style audio. The sometimes neglected soundtrack of videotape has come alive with crisp voices, realistic sound effects and carefully blended music.

Your videos can take on a whole new dimension with cleanly recorded audio and a rich mix of music and effects. You don't need to be a Hollywood movie mogul or a New York music impresario to get good audio. Any video maker with a little knowledge, a good microphone and a good audio tape recorder can create the audio dimension that gives their video productions that added level of professionalism.

We discussed microphones in the July 1995 issue of Videomaker. In this article, we'll show you how to choose and use an audio tape recorder, known in the field as an ATR. We'll talk about portable ATRs, digital ATRs and multi-track ATRs. We'll even show you how you can use your computer as an ATR when you edit your videos.

But even if you just use a portable audio recorder, one thing is certain: using an ATR can greatly improve the quality of your videos.

Why use a separate audio tape recorder if your camcorder and microphone records audio just fine? Well, for one thing, this will give you a backup audio tape, just in case something happens to your camcorder audio. But the main reason is to have a separate audio track that you can mix with other audio tracks when you edit your videotape.

Another reason for a separate ATR is to record background sounds that take place at your taping locations. Your camcorder may not pick up a babbling brook, a tweeting bird or the din of conversations in a coffee shop. The ATR can get these sounds before, during or after your videotaping, so you can have them available in post-production.

You can also use an ATR to add foley sounds. These are live sound effects you record in your studio--punches, footsteps, crackling sounds, etc. Or you could record reaction sounds such as guests commenting on how lovely the bride looks. And you can add ambience or nat (natural) sounds such as engines revving or a clock ticking.

With all these sounds to work with, your final edited video can have a fuller, richer and more realistic sound than the flat audio your camcorder captures.

A good way to record nat sound in the field is to use a high-quality portable cassette recorder and an external microphone. Just keep in mind that with a standard cassette ATR you'll have some problems syncing your sound to video. However, analog ATRs are excellent for nat sound, background sounds and even off-camera dialog.

While you can get by with a low cost recording Walkman-type ATR, a slightly larger portable deck with heavier motors and a built-in loudspeaker will produce better quality and allow for more versatility. Sony makes the portable TCM-5000EV Pressman ($499) cassette deck for (you guessed it) radio reporters. The Pressman is a mono ATR that sports a professional VU meter and three heads so you can monitor playback during recording. This deck has a built-in loudspeaker and pitch control.

Marantz makes a similar ATR, the PMD-222 ($449). It has three heads, a VU meter, a loudspeaker and even a professional XLR microphone connector (the Sony has only a 1/8-inch mini phone plug mike connector). The Marantz unit also comes in a stereo version without XLRs, the PMD-430 ($619). Sony has a stereo portable, the TC-D5 Pro II ($889), that includes two XLR connectors, Dolby B and an audio limiter to avoid distortion.

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