Ask Audio Mag
"The UH-7000 delivers the goods as either a top-quality Interface or a high-end dual mic preamp, and at it’s price point, it would be a good deal as either. But you get both functions for that modest price, and that’s really an exceptional deal. Couple that with Tascam’s long-time reputation for reliability and solid construction, and I’d say they have another winner on their hands."
Best of 2014 Feature
Tape Op Magazine
"TASCAM has hit a sweet spot with its UH-7000 — great converters, mic preamps that can play with the big boys without being sent home crying, and a price the working stiff can actually justify. For the singer/songwriter, DJ, location recordist, or in-the-box musician, the UH-7000 delivers a step up in sound quality from the usual fare. And with its digital I/O, you can integrate its premium mic preamps and converters with a multichannel interface that you already own."
Everything Audio Mag
"Its high quality and ease of use will certainly make your recording life easier... We also recommend the UH-7000 for the Everything Audio Network Stellar Sound Award, based on its function, audio quality and pricing."
- IWAO (Musician)
- Koki Kosaki (Recording Engineer)
- Kentaroh Kikuchi, Tomoya Tachikawa, Christopher Hardy (CRESCENT STUDIO)
- Akira Fukada (Recording Engineer)
IWAO (Iwao Yamaguchi)
First, the separate power source of "UH-7000" gives me a secure feeling. The transformer is important. Although there are various products that use bus power or power adapters, I worry whether I can record properly with those products. This may be unique to our generation. I think that amp-related products should be large and heavy! In that sense, "UH-7000" is a product that appeals to me because I love analog. The chassis of "UH-7000" is built solidly, has weight and is cool.
The tone quality is deep, solid, and tight. I have experience using various audio interfaces from lo-cost to expensive, so I know for sure that "UH-7000" produces the sound of higher-priced products. Its sound is high-class, solid, and tight. You can accurately record the 'thick' sounds of live music with the "UH-7000", and is suitable for any type of music. Also, you can clearly record the contours of a bass guitar. The recorded sound has a transparent quality, so post-processing afterwards is easy. The playback sound is tight. too. Also, it's like listening to sound that's right in front of you instead of a simple recorded track.
Even if you already have an audio interface, try the "UH-7000" as a mic preamp (called an HA in our industry.) I prefer tight sound, probably because my monitor is also made by DYNAUDIO.
Although there are various audio interfaces currently available, many of them are inexpensive, light, and small. The "UH-7000" is heavy and offers a secure feel – you will be satisfied with the "UH-7000".
Born September 21, 1963 in Tendo-city Yamagata-pref. Japan. IWAO is a regular member of the Japanese Society for Rights of Authors, Composers and Publishers (JASRAC) and is the director of the Japan Internet and Telecommunication Association (JITA.)
In 1986, he debuted as the vocalist for the theme song of the animation "Bio-Booster Armor Guyver" from Tokuma Japan Communications Co., Ltd.
In 1989, he re-debuted as a singer-songwriter for NIPPON COLUMBIA CO., LTD.
In 1992, IWAO gave a solo concert at Shibuya Public Hall.
Since 1998, he has been active mainly as a ukulele player - and in 2008, served as an instructor on the NHK educational channel "Start Playing and Enjoying Your Ukulele Right Away." About 80,000 copies of the textbook for that TV program were sold and became extremely popular.
He has performed internationally many times, including Hawaii, New York, Australia, Thailand, Taiwan, Korea, etc.
IWAO has released 39 albums and performed with other artists in over 100 albums.
Since 2013, he has been living in Shonan Chigasaki-city, and proposed "Ukulele as a Symbol for the Slow Life."
Official Web Site：http://iwao-breeze.com/
Koki Kosaki (Recording Engineer)
After taking the UH-7000 out of the box, I immediately noticed that it is very sturdy. I feel it is a reliable product that can also be used for recording outside of the studio.
First, I tried the UH-7000 by recording an acoustic guitar and a female vocalist, and my first impression was that the sound quality was very solid and natural. Since its Signal-to-noise (S/N) ratio is high and its gain can be increased enough, I was able to record the acoustic guitar (arpeggio play) without any concerns. For vocal use, I found the UH-7000 is suitable for female vocalists - or male vocalists whose voices generate several harmonic overtone components. UH-7000 offers a balanced sound from high to middle and low frequencies without over-processing. The middle frequencies have high density, and the high frequencies were very impressive and not harsh-sounding. Also, the meters of the UH-700 are very visible – which is important in a mic preamp. My specialty is recording pop music, and I have found that the UH-7000 works well in those applications.
Additionally, I tried the UH-7000 for recording the top and bottom of a snare drum. Although I used SHURE SM57 microphones for both sides of the drum, the UH-7000 fully captured the characteristics of the drum with the attack being very clear, and 'snappy' sounds being smooth and pleasant to the ear. Since the UH-7000 is a high-resolution mic preamp, it may also be used for drum overheads.
I feel the UH-7000 performs at a high level. It is a professiona-quality microphone preamp, and performs perfectly because it reproduces sound 'as it is' without emphasizing certain frequencies.
Graduated from Columbia College Chicago in May 2006. Currently working as a director and recording engineer at Tsubasa Studio.
Serving as an engineer mainly for pop-music artists such as One Night Only, DEPAPEPE, Ai Kawashima, Ayaka Takao, and also for a wide range of musicians such as Hiromitsu and AUN J Classic Orchestra.
Being an expert at live recording as well, he once was in charge of recording for Shota Shimizu, Sukimaswitch, HY, miwa, JUJU, May J, Aqua Timez, Ayaka Hirahara, Kana Uemura, Rimi Natsukawa, Ai Kawashima, and others.
Apart from that, he serves as a Public Address Engineer at the Japanese Pop Culture Lecture in the University of Hong Kong lecture hall, and provides the acoustical design for "MURASAKI," a Japanese Restaurant that Kikkoman Corporation opened at the Expo 2010 in Shanghai China. He is showcasing his talent in many areas.
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.
Tomoya: I am using it as a master recorder by digitally connecting the Universal Audio Apollo to the "DA-3000".
Whenever I bounced audio to a DAW, the sound quality changed. But, with recordings made using the "DA-3000", the quality is the same as when listening to the studio monitors.
Also, after using the "DA-3000" as the master word clock, the phase became much better.
Normally, there is no analog mixer where I work - recording is done to the "DA-3000" from just a computer and interface. If the mastering studio has a "DA-3000", it's possible to have the same sound. That's the best situation.
Kentaroh: Having to only bring small pieces of equipment into the studio – like the "DA-3000" - is very convenient and a big help.
Tomoya: Yeah, and the sound is great! I listened to it without knowing the cost of the unit. After I found out the price, I was shocked.
Chris: I used it at a live recording 2 or 3 weeks ago.
I used the "UH-7000" as a mic preamp, so the entire system was Tascam. I recorded instruments that made really delicate sounds using a one-point stereo mic. The dynamic range was really wide.
The recording was beautiful – really great.
When working at home, I do demo recording. The combination of the "DA-3000" and "UH-7000" is easy to take with me. And then, I can just hand the files over to Kikuchi-san (laughing).
Kentaroh: I'll do whatever you ask (laughing).
TEAC: For normal recordings, is high-resolution important to you?
Kentaroh: Well, for example, I don't think the difference between a 96kHz PCM file and 48kHz PCM file is as big as it may seem.
That said, DSD recordings are amazing.
So, I'm really grateful that I am able to create DSD masters at this price.
I hope that the format becomes more common, so when I ask, '"Can I use DSD for the master audio?" most people will say, 'OK' (laughing).
The sound is similar to listening to the output from an analog mixer console. So I don't need to worry about having to do extra work later.
TEAC: The "DA-3000" can also be used as an AD/DA converter.
Now, let's have a simple comparison by listening to the same file played from a DAW and the "DA-3000", and then get your impressions.
Tomoya: The "DA-3000" sound quality is very similar to the original.
Kentaroh: Yeah, it sounds really clean.
The "DA-3000" is easy to use, and I can mix while listening to the input monitor. And if the master studio has a "DA-3000", I can continue working in the same way.
Tomoya: It seems there is a slight difference in the orientation of the instruments… With the "DA-3000", the instrument sound seems to be more spread out.
Kentaroh: I agree. I think the "DA-3000" has better sound separation.
TEAC: Was it easy to use?
Chris: Honestly, I never had to look at the manual.
Kentaroh: Same here. I never looked at it.
Chris: I was able to figure out how to use it very easily. I think that studio workers have more demands, but even musicians like me can use it easily.
It can be used by non-technical people, and it is amazing that you can achieve this kind of quality at this price.
Tomoya: Some people believe that 'quality recording requires expensive equipment'. I really want people who believe that to use this and listen.
TEAC: Next, what has been your impression of the "UH-7000"?
Tomoya: I set it up with the Mac sequence software, connect my bass guitar, and use some headphones for monitoring. The bass sound was really great.
TEAC: How was the DSP mixer?
Chris: It's great. Really easy to understand. And 'this' can be removed using the MIXER PANEL button! Push it again, and it reappears.
Kentaroh: I really like this.
Chris: It's amazing.
TEAC: Tomoya, for what situations do you think it is useful?
Tomoya: I think I could take this out together with the "DA-3000", do pre-production at someone's home, and then return and continue working…it can really be taken anywhere.
Even when doing a pre-production take, a good take should be good enough to use. For bass guitar, the bass sound is important. If the sound is not tight, it's difficult to play along with.
However, I never felt that this was a problem. Usually, if the sound is too bright at around 1kHz to 2kHz, it's difficult to play, but I never felt that way with this.
TEAC: Thank you. Ok, now, let's record a piano and then listen back.
Kentaroh: Personally, I have my favorite preamp which has good chemistry for piano. But this was a real eye-opener for me (laughing). In a good way, it's flexible, but in a negative sense, it's unsophisticated…my impression changes depending on the instrument.
For example, in certain situations, the "UH-7000" would be good for recording an acoustic guitar.
I think that it is good enough to where you can discuss its 'sound character'.
It can be called a 'headphone amp with this kind of character'.
So, it would be interesting to compare this with SSL. In any case, it is very flexible!
There is definitely no strange character to it.
TEAC: How about you, Chris?
Chris: What I'm listening to sounds pretty good. I would like to try some percussion.
Tomoya: The S/N is also good.
TEAC: We really focused attention on the S/N ratio.
Kentaroh: Even when I listened using large monitors, there was only a tiny amount of noise (laughing).
Even with large monitors, it was almost unnoticeable.
Tomoya: I was surprised. I was surprised even more than by the DA-3000 test.
TEAC: Your surprise makes us happy.
Please continue using these products for your music productions.
Thank you so much for taking the time to talk with us today.
ALDEBALAN Co., Ltd.
Recording Engineer at CRESENT STUDIO
Recently, Kentaroh has handled recordings for various types of genres. In Rock/Pop, he has worked with artists such as Chiharu Matsuyama, George Tokoro, Gackt, Spitz, Seiko Niizuma, B1A4, and Mariko Hamada. In Jazz, he has worked with artists such as Yosuke Inoue, Tetsuro Kawashima, Miyuki Onitake, Masahiko Osaka, Toshiyuki Honda, and ScarletMaud. He has also worked on various soundtracks.
Currently, he is the Chief Engineer at CRESENT STUDIO.
Tomoya became a bassist while at Rikkyo University. After graduating, he and Akihiko Matsui established the band 'Junky Funk' and released an album.
During this time, he also participated in live shows and studio recordings for various artists including Kumiko Mori, Joe Hisaishi, KIRINJI, Demon Kogure, Jun Sena, and Maki Ichiro.
As a Composer/Arranger, he has served as the music director for shows such as NHK's "Tu-Tu Ensemble", "Machikado Do Re Mi", and "Do Re Mi no Telebi", for the musical "Giden-Sharaku", and for various shows - such as at Disney Resort, Roppongi Hills, and ENOSHIMA AQUARIUM.
He was also involved with sound production for 'SUMIDA AQUARIUM' and 'KYOTO AQUARIUM'.
In 2013, he received The Galaxy Award for a song he composed for a World Vision TV commercial.
Chris was born in the United States, and has a background in western percussion instruments. He is highly esteemed as a hand drum specialist. Hand drums which are widely used in the Near and Middle East, North and West Africa, and in Latin music.
His work covers everything from Renaissance music to Jazz, R&B, Hip-Hop, Pop, Contemporary and World Music. His style of playing is unique and creative.
He has collaborated with artists such as Kazumi Watanabe, Yosuke Yamashita, Eitetsu Hayashi, Fumiaki Miyamoto, Shuntaro Tanikawa, Kazuhiko Kato, and Minako Honda.
With Victor, he released his solo CD/DVD 'Touch', which received a top recording award from Monthly Magazine Stereo. It was also released in the US at the same time.
Currently, he is developing a 'primitive' sound with harpist Ailing Sai.
He is a part-time instructor at the Senzoku Gakuen College of Music, and he participated on stage as a musician for the Cirque du Soleil musical 'ZED'. He is developing his own creative sound.
Akira Fukada (Recording Engineer)
dream window inc.
The first time I used the UH-7000 was during my audio evaluation of the product. We have tested various DAWs, and every software program - including ProTools11, which works fine with the UH-7000. The most essential features for me are the crystal-clear sound, dynamic range and better audio clarity I get from the UH-7000 when compared to other products. Also, it is the optimal audio tool to record anything in high-quality - piano, acoustic guitar, and any other acoustic instruments.
I usually use high resolution components such as a PCM192/24 and DSD5.6 for my recording project. However, the UH-7000 and DA-3000 allow me to record high-resolution tracks even without a PC, which has made my work a lot easier.
Of course, there is no need to bring your microphone pre-amplifiers, or any other audio interface hardware since the UH-7000 has an integrated DAW feature which provides efficiency and convenience for your recording projects.