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Shoot Review: Korg MR-1

Dec 1, 2007 12:00 PM, Reviewer: Gary Eskow

Audio recorder offers portable 1-bit recording.

Whether you're a videographer working on a budget and needing to shoot his or her own audio in the field, or a dedicated audio specialist tasked with acquiring the highest-quality field audio possible, part of your job is to assess the tools being brought to market. In the past year, we've taken a look at several affordable pocketsize 2-channel recorders that offer high value, such as the Edirol R-09 and the Zaxcom TRX900. This month, we'll examine the Korg MR-1 1-bit mobile recorder.

The MR-1 ($899) is part of a tandem of two track recorders Korg has recently released. If you're intrigued by the MR-1, but need more professional I/O connectivity — and even higher audio specs, you may want to check out the MR-1000 ($1,499).

Perhaps you've heard about 1-bit recording, but don't understand its advantages. Don't worry; you're not alone. Fortunately, Korg has put a highly informative explanation of 1-bit recording on its website. But cutting through all the jargon, here's what you need to know: Rather than yielding inferior audio to its 16-bit and 24-bit cousins, 1-bit is actually a superior format because it samples at vastly higher rates. The MR-1's top sampling rate, 2.82Mhz, is 64 times greater than a 16-bit recorder delivers, and the MR-1000 is a walloping 128 times greater than the CD standard. Before we put these specs to test, let's take a look at the MR-1.

The MR-1 is about the size of a pack of cigarettes (2.52"×4.72"). Its chrome and brushed gray exterior is attractive, and the controls, while small by necessity, feel solid. The backlit LCD screen (160×104 pixel resolution) is large enough to be read easily in almost any situation. Standard transport controls, located on the top of the unit, do not require a familiarity with Braille, but you may need to memorize some strokes if you're using the MR-1 in poorly lit environments.

On its right side, you'll find volume controls, the menu button, the on/off control, and a reasonably-sized wheel (the “P-dial,” in Korg nomenclature). Depending on where you are and what features you want to access, you'll use the P-dial as a scroll or — if you push it in while highlighting WAV as your recording format, for example — as the mechanism that locks a setting into place. Every device of this size needs a system like that of the MR-1. With the combination of the menu button and the P-dial, I found it easy to get around the unit.

Power is supplied to the MR-1 via the included 5VDC power supply, which is a bit cumbersome, or through the internal battery, which the manufacturer claims holds a charge for about two and a half hours. When you don't have access to external power, extended fieldwork is obviously dicey at the present time. External third-party battery packs will work with this device, but Korg plans to release a pack of its own soon.

Navigating through the MR-1's menu structure is simple. Within the Library menu, for example, it's easy to understand the folder structure. The Library menu has Current Project, Other Projects, and Audio folders. Folders within the project folders are designated by recording formats, which makes them easy to move through. You set the format in the record mode window, which is also where you can set up the LCD contrast and the auto-shutdown time and manage other housekeeping tasks.

Unlike the MR-1000, which comes with professional I/O connectivity — including phantom power, XLR and TRS inputs, and XLR and S/PDIF outputs — the MR-1 is limited to mini jacks on both ends. The included CM-2M stereo electret mic is more than sufficient for interviews and much of your fieldwork, but it is noisy. A windscreen would have been a thoughtful addition to the package. A mono input would have also been a nice addition.

The real question you have to ask yourself if you're in the market for a high-quality, portable stereo recorder is: Does the quality of 1-bit recording, which is clearly superior to PCM audio and other formats, justify the extra expense (several hundred dollars) when you can buy a unit that is similar in function and records to specs of 24-bit/48MHz or higher, and when at least some of MR-1's extra quality is degraded due to its limited I/O?

On the editing side, Korg bundles AudioGate, a nifty software application that lets you perform some basic editing functions from a workstation. Using the USB 2.0 cable that comes with the MR-1, AudioGate sucks audio into your workstation's hard drive. The most important function AudioGate provides is file format conversion. Unfortunately, AudioGate does not export MP3 files, an important format — particularly when you need to quickly send reference audio through the Internet. (Korg indicates that AudioGate interfaces with any one of the countless MP3 conversion apps out there).

I was very impressed with the MR-1, which comes with a 20GB hard drive. It is sturdy, has 1-bit audio that sounds glorious, and is easy to use. (I look forward to working with the MR-1000 at some point, which should sound even better.) In a rapidly congested market, however, the central question that remains is whether the MR-1's connectivity limitations outweigh its recording capabilities. You may want to make an A/B comparison with other devices before making a purchase. But if you're ready to buy a portable, high-quality stereo field recorder, the MR-1 should be on your short list.

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bottomline

Company: Korg
www.korg.com

Product: MR-1

Assets: High-quality audio, fast sampling rate, easy to use, sturdy package, easy-to-read LCD, bundles with easy-to-use AudioGate editing software.

Caveats: AudioGate doesn't export MP3s without a conversion app, noisy, lacks windscreen, limited I/Os.

Demographic: Field recordists and videographers tasked with obtaining high-quality field audio.

PRICE: $899

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© 2008 Penton Media, Inc.