Choose a recorder by the greatest number of external microphones your radio play needs at once, then check whether it can record the voices on separate tracks. Two microphone inputs suit solo or two-performer sessions; a larger simultaneous cast needs more inputs. A 32-bit-float recording mode can help with changing levels, but quiet conditions, microphone placement and monitored test takes remain essential for intelligible dialogue.
If several performers, a narrator or an effects source must be recorded together, separate microphone inputs and tracks give you more control over individual takes in the edit. Zoom and Sound Devices specify different input and track counts across the models discussed below, so count the sources in your busiest scene.
If you normally record no more than two externally miked voices together, a two-input handheld recorder may cover the session without adding unused microphone inputs. Zoom specifies two XLR/TRS inputs for the H4essential, as does Tascam for the DR-40XP.
Whispers, raised voices and sudden effects make recording levels harder to predict. The 32-bit-float modes specified for these recorder models can offer room for later level adjustment, but you still need to listen for noise, distortion at the microphone and unclear speech during a test take.
Choose when: You record one or two externally miked voices at a time and want a compact setup; Zoom specifies two XLR/TRS inputs for the H4essential, and Tascam specifies two for the DR-40XP.
Trade-off: A third simultaneous external microphone cannot have its own input on either of these two-input models.
Choose when: Several performers or an effects source need separate microphones in the same take; Zoom specifies four XLR inputs and up to six recorded tracks for the H6essential.
Trade-off: Using more inputs also means arranging the microphones, cables and monitoring that the scene requires.
Choose when: Three primary microphones and a recorder-mixer workflow fit the production; Sound Devices specifies three preamps and five recorded tracks for the MixPre-3 II.
Trade-off: Its three primary microphone inputs do not cover four separately miked performers at once.
| Concern | What to check | Who this matters to |
|---|---|---|
| Separate dialogue tracks | Count simultaneous external microphones and confirm how many individual tracks the exact model can record. | If I need to adjust overlapping voices independently, each source needs a suitable input and its own recorded track. Around 36% of consumers put separate-track editing first. |
| A manageable two-voice setup | Check for two microphone-capable inputs and headphone monitoring; check phantom power if your microphones require it. | When I usually record alone or with one actor, I would rather manage a straightforward session than add channels I rarely use. Roughly 29% of consumers prioritise that simpler workflow. |
| Intelligible dialogue | Listen to a test take in the recording room for background noise, reflections and changes in actor-to-microphone distance. | I need every line to remain clear before editing begins, particularly in a room with audible distractions. For around 21% of consumers, dialogue clarity is the primary concern. |
| Changing performance levels | Confirm that the intended recording mode supports 32-bit float, then rehearse the quietest lines and loudest effects. | If a scene moves from whispers to raised voices or effects, I want flexibility when setting levels later without neglecting the original take. Approximately 14% of consumers put variable-level recording first. |
Recorded tracks and physical microphone inputs are different counts. Zoom specifies two XLR/TRS inputs for the H4essential and four XLR inputs for the H6essential, so the models cannot accommodate the same number of separately miked performers at once.
List every voice and effect source needed in your busiest simultaneous scene, then check the exact recorder’s inputs and individual-track recording options.
A larger miked cast may also need additional microphones, cables, stands and a way for the people monitoring the session to hear it.
Recording-level flexibility does not remove room noise or correct poor microphone placement. BBC Academy guidance warns that an inaudible line will not become clearer in the final mix.
Monitor on headphones and record a rehearsal in the actual room. Address distracting noise and microphone position before the full take.
Built-in stereo capture does not give each actor an individual external-microphone track for adjusting overlapping dialogue. Compare the required sources with the recorder’s physical inputs, not just its built-in microphone features.
For dialogue that must be edited voice by voice, plan separate microphones and confirm that the recorder can capture their tracks simultaneously.
A recording project can involve rights in the script and in performers’ contributions. UK copyright law restricts public performance of protected literary and dramatic works, while GOV.UK explains that recording a performance may require the performer’s permission.
Before distribution, establish that you have permission to use the script, performances and any other protected material in the intended way.
Zoom’s H4essential and H6essential illustrate two-input and four-input handheld options for different cast sizes.
Tascam presents the DR-40XP as a portable four-track recorder with two XLR/TRS inputs and a USB audio-interface function.
The MixPre-3 II represents a compact mixer-recorder route; Sound Devices specifies three Kashmir preamps and five recorded tracks.
Count the voices and effects sources that must be recorded at the same time on separate microphones. Two inputs cover up to two such sources; for a larger simultaneous cast, check a model with enough physical inputs and individual recording tracks. Zoom specifies two XLR/TRS inputs for the H4essential and four XLR inputs for the H6essential.
No: 32-bit-float recording does not let you hear room noise, poor microphone placement or an unclear line after the chance to correct it has passed. BBC Academy guidance stresses capturing audible dialogue, and Shure identifies microphone placement and room acoustics as important to vocal recording. Monitor a rehearsal take in the room you will use.
Check the recorder’s media guidance, power, track assignments and headphone monitoring, then record and play back a complete rehearsal take. Tascam publishes model-specific tested-storage information for the DR-40XP, so check that model’s guidance rather than assuming a card tested with another recorder will suit it.
For a UK consumer goods contract, the Consumer Rights Act 2015 requires goods to be of satisfactory quality. Keep the product description, order details and evidence of the fault when contacting the seller; a manufacturer support option does not replace the question of your rights against the seller.
Do not assume you can publish it without the relevant permissions. UK copyright law restricts public performance of protected literary and dramatic works, and GOV.UK explains that recording a performance may require the performer’s permission. Establish the rights needed for the script, performances and other protected material before distributing the recording.