It is a fine inexpensive field recorder used by many musicians in order to capture the live performance for their personal review and critique of same. Roland also makes one that is generally appreciated by the jazz musicians in this region.
I own the DR-40, not the DR-40X. I don’t know if the newer version has changed it, but my DR-40 is in reality a 2-channel recorder with two extra channels available as a reduced-level backup. In other words, in a live recording situation, you may have levels set properly, but an unexpected peak comes along which exceeds the maximum input for the level you’ve set. The second pair of channels records at -12dB as a backup. (I’m a bit rusty on it though, as I haven’t read the manual in a while, and I only use it in 2-channel mode.)
But for what it does, digitizing analog sources, it has been plenty good enough. Through a decent DAC, I doubt you’d hear any difference between the 24-bit/96kHz the DR-40 delivers vs. the more expensive options.
I had considered the DA-3000 but keep in mind that there are handfuls of editors for PCM files (Adobe Audition, Sound Forge Pro, etc., even freeware like Audacity), whereas editors for DSD are scarce. TASCAM seems to offer a DSD editor but I’ve never tried it, so I don’t know if it would do everything I would need. That and some “DSD” editors bounce it to high-resolution PCM for editing, and back to DSD for saving.
The problem is, what/how are you going to record a file and actually use it? Recording vinyl as a single files is awkward as you’d have no way to access each track. Recording individual tracks means some tricky work with having to hit various combinations of pause/record/stop at just the right time. Especially if one suite, or a live performance, needs to be cut up into tracks. Depending on a device or software to automatically detect track changes is…not optimal.
That’s where editing software comes into play. My workflow is to record one side, pause the DR-40, play the second side, and stop the recording, which gives me one file. I then hop into the editor to drop markers where I want to split the file for tracks, and trim off the beginning and end of the file. (I do a little more work beyond this, but that’s irrelevant here.) Once I’ve done that, the software I use (Sound Forge Pro) can extract the regions as individual tracks, and saves them all in one folder.
One other option nobody has mentioned, and if the budget allows:
I used to have sound samples of how well this unit removed clicks and pops from vinyl, and some listeners whose ears I trust (hearing another SugarCube in someone else’s system) have said they found it transparent. But you can also bypass the click and pop removal.
The takeaway here is that with the SC-2 Mini, SC-2 Mini/Phono (which has a phono stage you don’t need), or the SC-2 Plus, you can plug a USB thumb drive into the front panel. And from what I remember, it will not only look up the album’s metadata once it recognizes it, it will split the audio into separate files/tracks.
I sort of wish I’d gotten one of the SC-2 units, but had to get my SC-1 Plus secondhand since they had some major supply chain issues during and following the COVID shutdown, and it was the only SugarCube I could find. There is a way an SC-1 can output the 24-bit/192kHz through one of its rear USB ports, but I haven’t yet found a way to make it work on any OS I’ve tried. (I don’t have time to mess with it.)
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Update on the Rega: it doesn’t have a way of bypassing the phono preamp before it samples and sends the data out through USB. However, I read a review that said it’s a surprisingly upper-class pre-amp consistent with Rega turntables, so I think I’d be OK.
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Hi Rudy, one of my work-colleagues named Rudy just retired and if you are half as nice a guy as he is, you’re in great shape.
Thanks much for the reply. So you’ve used the DR-40 to transfer analog, like from vinyl, to the computer? When you spoke of the 2nd pair of inputs, good for higher peaks, it sounds like there’s no control over incoming line volume? But I looked at the manual for the DR-40X and it does appear that for level-setting, you choose “Setting the Limiter,” and it has options for MANUAL, LIMITER, PEAK REDUCTION, and AUTO. I assume with MANUAL, it’s adjust yourself and the others use compression if needed?
As for editing, I’d never need to edit DSD - my ears top out at 24/96 anyway. But as far as editing, I’ve been a long-time owner and user of Amadeus Pro for Mac which is a competitor of Sound Forge. At the time I bought Amadeus, I think Sound Forge wasn’t as robust, and I really liked the plug-ins to Amadeus Pro - for sound-processing. It also allows me to mix several tracks and output to any audio format around. And yes, I know all about setting up tracks for CD, etc.
And the SC-2 Mini. A bit rich for my needs I’m afraid, but I sure wish I was in that ballpark.
Thanks for the link. Looks like a direct competitor of the TASCAM DR-40X, but has fewer features and is more expensive ($248). It also doesn’t have a built-on microphone. I don’t foresee needing it, but I guess could come in handy.
Found another of these field recorders:
Never heard tell of Xvive, but the specs and cost seem good - $80. The problem with these field recorders is wondering when it gets down to basic recording with no audiophile quality (OK, it does say it in the title). Don’t know about you, but a picture is coming to mind - which was available around the time I was working in professional recording:
I didn’t think a microphone was needed to rip LPs. I learn something new daily.
What, you mean you’ve never put a mic in front of your speakers to record?
Well, I did say about the Roland’s lack of mic: “I don’t foresee needing it, but I guess could come in handy.” And when I say “handy,” I mean to use it like I used that cassette unit: to record farts.
There is control over the incoming volume, but this is geared more towards live performances where the levels can be unpredictable, even if the levels have been set after a warm-up or sound check.
For my usage, I don’t even pay attention to the two extra tracks. I treat the DR-40 as a stereo recorder.
My workflow? I record to an SD card on the DR-40 from a tape (line) output on the preamp, then move the SD card to a computer and copy the files over for editing. Once that is done, I will sometimes take the full-length file, drop it into a video, and upload it to YouTube. Otherwise, I split the single, edited file in the computer and save it as individual files, which get copied to my file server on the network (which I can then play back on Roon using one of several endpoints in the house, or copy to the SD card or USB stick I use to play music in the car).
The inputs on my DR-40 are a pair of 1/4-inch phone jacks, and I had to buy adapters to go from a 1/4-inch phono plug to an RCA jack.
I can’t recall any limiter settings on the DR-40. That is probably a feature of the newer 40X model, not the one I own. I’m sure it’s handy for live recording, but when doing work to archive a record or tape to digital, I would prefer it to be as pure as possible, without the recorder adding anything of its own.
Prior to recording, I ensure that I’m using the full 24-bit/96kHz resolution for recording. I believe it also has CD-rate digital and MP3 as options. It can run off of AA batteries, but a clean USB power source is more reliable.
I’m sure there are better options out there than the DR-40, but I’m not rolling in money, and it does the job for now. If there’s a difference between the original source vinyl and my digital version, I’d be hard pressed to tell the two apart.
I should probably write something more coherent and stick it in one of my Vinyl Beat articles for Copper. Maybe over the winter, when things aren’t so hectic on my end.
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I should add a few more notes:
I only lucked into a used SC-1 Plus through some diligent searching for several months, and I didn’t pay full retail for it. But they are very hard to come by on the used market, and it gets more confusing as the original generation units are still out there in the wild. If I had to buy one now, I’d never be able to afford it.
I just took a look at the TASCAM site and wanted to add some of their terminology:
The “dual” recording mode, with one pair of tracks at a lower level, is called a “Safety Track.”
The 4-channel mode is somewhat deceiving. All it means is that it can record using the DR-40X’s two built-in mics in addition to whatever is being recorded via the separate Mic or Line inputs.
It offers a “pre-recording” mode where it buffers a couple of seconds prior to hitting Record or Pause, in case you miss the beginning of the music by a fraction of a second.
From what I can see, the DR-40X adds the limiter feature, support for larger SD cards, and USB support (where it seems as though it can work as a digital audio interface to get audio into a computer). The older DR-40 has a USB port but it is used only for powering the unit.
I’m doing something similar. I run one of my outputs on the SugarCube through the coaxial input on a DS DAC. Just one of many ways I can use its output.
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Having seen this discussion, several similar on other boards, and having been through this exact thought process myself, it seems a huge shame that the concept of the PSA’s Nuwave Phono Converter didn’t take off.
By the time I was looking at this (having taken a good few years away from HiFi) it had already stopped production. When I read about it I thought “this surely was a massive success, given that folks don’t want preamps if they are all digital!”.
…just in time for preamps to be back “in”, even for all digital people.
Maybe in another timeline 
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I use one of the Tascam handhelds as a safety, sending it its own line in. I do not recall which unit. It works well, has a built in rechargeable battery, sounds good.
With a limited budget this would be an excellent choice.
I am truly surprised, but also excited, that so many others have chimed in here. I’m still fairly new to hi-level audio, so when I initially posted my request for info, I assumed I might well get responses along the lines of “You idiot, haven’t you even heard of X product - everybody and their mother knows how well those work.”
I do agree with you that it’s a bit unusual, with all the re-focus on vinyl, aside from the basic turntables with USB outputs, more people haven’t jumped on the digitizing from a phono pre-amp bandwagon. The one I found from Rega was my second choice.
Hi Rudy,
Based on your feedback, I ordered the DR-40X from Amazon. I said to myself, “If Rudy, who clearly cares and probably knows 10 times what I do about audio is using it, certainly it will be good enough for me.”
>> I don’t even pay attention to the two extra tracks. I treat the DR-40 as a stereo recorder <<
Exactly what I’ll be doing. Although I might use the microphones for something or other. And same as you, its mixing, overdubbing, etc. will probably go unused.
>> I record to an SD card on the DR-40 from a tape (line) output on the preamp, then move the SD card to a computer and copy the files over for editing. <<
I’ll do the same, but you’re right that the DR-40X’s USB interface now has the capabiity of either direct-streaming to the computer or copying the files from the SD Card to the computer - no need to have a card reader for the Mac. Just for convenience, I’ll probably record to the SD card and haul the TASCAM to my office Mac to transfer and edit the files. As for batteries vs. USB for power, I’ll figure which is easiest. Heck, I guess I could use my USB C charging cable for my iPhone.
I was pretty close to going with the Rega phono pre + USB, but I really love the phono sound directly out of my CAT tube pre-amp, so with the TASCAM, I can use what I love.
>> The inputs on my DR-40 are a pair of 1/4-inch phone jacks, and I had to buy adapters to go from a 1/4-inch phono plug to an RCA jack <<
I have some high-end RCA-to-BNC cables I’ll use.
>> I’m not rolling in money <<
Just in case you don’t think I’m cheap, even though I could have gotten it in 2 days directly from TASCAM or other sources, Amazon had it on sale for $24 cheaper, but I have to wait 10 days. It’s torture, but I bought a really good SD card and adapter for going from USB C to USB B to get it into my Mac.
That’s good to know. I don’t think either the DR-40 or 40X have a rechargeable battery, so I’m guessing you’re using another, or older, TASCAM product.
Yes, it is over 10 years old, working flawlessly.
Here is an update on a problem I found: there are numerous ADCs that go from analog (RCA) inputs to S/PDIF Toslink or coax, but finding a converter that goes from Toslink or coax to USB is, well, a PIA. I’m not sure I found a single one. So I asked AI why. Here’s the response:
Toslink/Coax to USB converters are harder to find because the technology is more complex and expensive to implement, requiring a clock source for the audio signal, a stable and clean power supply, electrical isolation, and proper buffering to ensure the low-jitter audio data is transferred reliably. While USB to Toslink/Coax devices have simpler functions, the reverse requires a more intricate design to handle high-fidelity audio, a factor that makes them less common and more costly.
My experience was not only that they are less common and more costly, but that they don’t exist.
I use an RME Digiface USB to input TOSLINK into my Mac Mini M1. Here is the link to the RME website:
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I was going to suggest RME, but like most of the others, if they put an ADC in a box with USB connect they assume you will want a DAC too, and are likely recording from instruments etc.
They do make excellent products though, so in terms of sound quality they are to be recommended
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Amazon carries the RME ADI-2 Pro FS R, a real swiss army knife. It was overkill for me, but a really nice piece of audio gear.
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