With the aim to have something to improve field recordings when I'm usually a crew of one, sometimes able to scare up a civilian to push the record button when I'm lucky, I got a Sony PCM-D50, the economy version of the PCM-D1.

In brief, this was a 3-stage comparison, starting for reference purposes with the on-camera audio from my Canon XL H1 @ 0:01 -- maybe not the fairest comparison, since as on-cam audio goes, the XL H1 usually is not half bad, aside from a nasty tendency to pick up ever physical bump that unseats the mic in its (stock) mount. That and the drawbacks of being at a greater than ideal distance from the band.

Second run @ 1:28 has the raw 44.1KHz, 24-bit, uncompressed wav that was simultaneously recorded from the PCM-D50 with a windscreen and tripod support, using the on-board condensor mics only. The location of the PCM-D50 was next to the stands, on the 50-yard line, pointed mostly directly at the percussion pit and the band as a whole. The recorder was approximately 15 yards from the line of the pit. (The camera was tripod-mounted on top of the announcer's stand, with several sometimes talkative members of the Monroe staff present), and also fairly close to the 50-yard line.

The third example @ 2:57 has a slightly sweetened version relying for source solely on the 2nd (PCM-D50) track, with added (mild) noise filtering and 3:1 compression from a -15 dB threshhold.

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