Digital Recorders

A 24‑bit, high‑resolution version of the DAT format allows users of 24‑bit workstations to transfer their mixes using readily available, cheap media.

Designed as a replacement for high-end tape-based multitracks, Otari's original RADAR 24-track random access recorder/editor captured a sizeable chunk of the pro market. We take a look at its successor, RADAR II, which offers a host of enhancements including 24-bit audio.

The ADAT format is more often the choice of personal studios than professional facilities — but the new M20 is set to change all that. Hugh Robjohns takes the 20-bit ADAT for a spin.

Paul White meets the junior member of Alesis' family of Type II 20-bit ADAT recorders.

Paul White tests the 20-bit Alesis ADAT XT20, to see whether it wil really help us make better recordings or just allows us to record our low-level hum and noise more accurately!

It started in 88, dropped to 38, now rises to 98... no, it's not the chart performance of the new Spice Girls album, but Tascam's rather strange way of numbering the models in their respected DA series of digital multitrack recorders. Hugh Robjohns checks out the new flagship in the range.

Pioneered by Fostex, the concept of the 'personal' digital multitrack — a stand-alone digital recorder with a simple, cassette multitracker-like interface — has been around for two years now. But the new D160 is the first of the bunch to offer 16-track capabilities.

Hot on the heels of Fostex's DMT8 Roland's new VS880 offers another take on the affordable digital multitracker concept. But as Paul White discovers, beneath the apparent similarities lie significant differences...

ADAT is dead, long live the ADAT XT. Paul White reports on the rebirth of a classic.

Derek Johnson examines one of the more affordable recorders, the Aiwa XD-S1100.

Beyond the razor-blade: HHB's innovative CLUE system provides an answer to the digital editing dilemma. Paul Gilby pieces together the story.