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Products :: Recorder/Player :: Master recorder :: DA-3000

DA-3000 - High Definition Audio Master Recorder

DA-3000 REVIEWS

 

Interviews and user reviews

“In audio, newer isn't always better. I've been a huge proponent of the DV-RA1000 since first it came out. But TASCAM has really raised the bar in the DA-3000 recorder with highly improved A/D and D/A, a much better power supply, and an incredible and intuitive user interface.”

– Bill Schnee (Steely Dan, Marvin Gaye, Chicago, Dire Straits)

“My high-rez recording work with "live on location" jazz has been enhanced to a literal "maximum" by a series of units from TASCAM that have made recording in-the-field more portable, more intuitive and more acoustically vivid. Among the indispensable Tascam gear that I take to jazz clubs, concert halls and outdoor venues is the ear-opening, pleasure-inducing DA-3000 unit that refuses to balk or obtrude on my work in any way.  If there's been a recording device that fulfills its high quality sonic objectives with trouble-free ease and delight, this box is first in line for such an award.  The only thing that might be better than the DA-3000 is two of them.”

– Jim Merod (BluePort Sound / BluePort Jazz, Wynton Marsalis, Herbie Hancock, Ella Fitzgerald)

 

Kentaroh Kikuchi, Tomoya Tachikawa, Christopher Hardy


Recently, we had an opportunity to sit down with sound engineer Kentaroh Kikuchi of CRESCENT STUDIO located in Tokyo Setagaya-Ku – along with composer, music producer, and bassist Tomoya Tachikawa, and percussionist Christopher Hardy. We asked them about the "DA-3000" and "UH-7000", which they have been using for recording.
The interviews were done at CRESENT STUDIO where they do recording sessions. We discussed sound quality and usability, while also doing some comparative listening.

TEAC: First of all, how have you been using the "DA-3000"?
Kentaroh: I'm using it as a master recorder for 5.6MHz DSD files.
I had already been using DSD-compatible recorders with sampling rates of 2.8MHz and 5.6MHz, but had always felt that there was a major difference in the sound quality due to the different environment when I brought a recording done at 2.8MHz into the mastering studio.
But when I used the "DA-3000", I didn't notice this difference. The sound seemed flat.

 

Mizuo Miura, Kotaro Kosaka and Takuya Kato(MIXER'S LAB)

Special discussion
A conversation with three engineers at MIXERS LAB about the sound of the DA-3000 and the potentials of DSD

Cooperation : MIXER'S LAB
Mixer's Lab is a recording studio complex located at Azabu, Tokyo, established in 1979.

We had a discussion with three MIXERS LAB engineers in their Studio A, where a DA-3000 is being used for mixing. Mizuo Miura, Kotaro Kosaka and Takuya Kato gave us their impressions and opinions about the sound quality and usability of the DA-3000.


 

Web site

Stellar Sound Award"After much use, it is our opinion, that no product deserves an Everything Audio Network Stellar Sound Award more than the DA-3000. It is that good. I plan to buy two. One for the audiophile rack and one for the recording rig." Read the Review

 

TASCAM DA-3000 used as 24-track DSD recorder by Blue Note Japan

 

Books and magazines

“Set for 192 kHz PCM operation or at either of its DSD bitrates, the DA-3000 is almost undetectable from the analog source. I can’t stress enough how “faithful to source” the DA-3000 is, especially in DSD mode where I could not discern it from the analog source at all when listening to very familiar source material.”

– Allen Farmelo, Tape Op Magazine, July 2014
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The DA-3000 was published in the SOUND DESIGNER, a recording magazine in Japan. This article was written by interview to Mr. Masato Tobisawa, a famous Japanese recording engineer. This article was translated by TEAC, under license from Sound Designer, inc.
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