I bought the Tascam DR-100 MKII in 2014, upgrading from the previous model, the DR-100. I used it in countless guitar ensemble and solo guitar videos, syncing audio to video in post-production. It's now 2025, and I have over a decade of history with this unit. Yes, new Tascam models have better built-in mics and 32-bit float, but if I plug in a good pair of condenser mics, the MKII still shines. Plus, the plethora of physical controls, fewer menu visits, wired remote, and sturdy metal build are hard to beat this side of a grand.
The charcoal-gray anodized aluminum body is solid, attractive, and has excellent fit and finish. The XLR inputs have locking tabs. It can be hand held but is at its best on a tripod or hand grip. The orange illuminated monochrome LCD is 1990s tech but easy to read even in bright sunlight.
I use Arca quick-release plates on all my gear for fast setup and tear down. The tripod socket is a stainless steel insert but is shallow: many plate-mount screws bottom out in the tripod socket, allowing the plate to spin. The obvious workaround is to file down the screw. However, I found a slightly shorter Sunwayfoto replacement screw, and all is well.
One of the hallmarks of this model is an abundance of clearly labeled physical controls, resulting in less menu surfing. Lessor models force you to struggle with nested menus to switch input sources, engage phantom power, or set the limiter. The MKII designers thoughtfully provided switches for those and most major operations and options! And those switches and buttons feel sturdy and responsive. The gain wheel is smooth but stiff enough so that inadvertent level changes should be rare. It also allows independent setting of individual channels. If you've used a recorder before, you'll find the controls and menus intuitive.
Calibrated Gain for Both Channels | Coaxial digital-in port & battery door
Rear Panel | Controls for mic gain, phantom power and limiter
RFI Resistance
I live in the inner city and am surrounded by cellphone and radio station transmitters. RFI is a major problem, and every piece of gear needs shielding or it becomes a classic rock station. I am happy to report that the DR-100 MKII greeted me with complete radio silence and is well shielded. In contrast, my plastic DR-40 picks up a Morse code-like RFI from cellphones even in the next room!
Connectivity
The versatile input options of XLR, coaxial, and unbalanced analog allow you to record any source needed from phantom-powered condenser mics to digital mixers to turntable preamps. The DR-100 MKII has a switchable pad to toggle the XLRs from mic to line-level input. Unfortunately, since this is a palm-sized unit, phono and RCA jacks are MIA. You'll have to make do with adapters to plug RCA or phone jacks into the XLR or mini stereo jacks.
XLR Inputs | Clean mic preamps with locks but no TRS
One of the hidden jewels of the DR-100 MKII design is the coaxial digital-in port, allowing direct recording from a digital mixer, mic preamp, or DAT. I wish it was an RCA jack instead of a 3.5mm, but it is still a welcome feature, especially since few portables have digital in. And it ships with a mini to RCA adapter so you're ready to go out of the box! The digital in works great with my MOTU Ultralite, reaping the benefits of the better preamps and DAC while sparing me from dragging around my MacBook Pro.
Output options are few: headphone port and analog stereo out, both mini stereo jacks. Tascam could have easily squeezed in a pair of RCA jacks. So adapters will be needed to interface with studio and home stereo systems. I rarely use output jacks since the SD card goes straight in my Mac for storage and editing, so no biggie. It has mini-USB for charging and uploading to your computer, but not for playback or recording. A card reader is faster for uploads, but it's good to have a USB port just in case.
Batteries
I love the dual battery setup with rechargeable Li-Ion and AA backup. No problem lasting through a long rehearsal and concert. Although the DR-100 MKII doesn't ship with a charger, you can charge it with any USB charger, including iPhone chargers, or plug it into a computer USB port.
Sound Quality
The built-in cardioid mics are permanently fixed in a narrow AB pattern. Wish they could be position in XY and/or a wider AB spread.
Mic tone is a bit on the bright and thin side. Boost midrange EQ in post-production, and DR-100MKII mics sound surprisingly full. The omnidirectional mics—the little holes above the LCD—are utter crap.
I'm a music educator and use the MKII to record college music ensembles, primarily classical guitar. I attach the DR-100 MKII to a tripod with the mics pointed at the ensemble. An Arca quick release plate lives on the MKII for fast setup/tear down. I'm directing and playing, but also operating the DR-100 MKII, so having a wired remote to start/stop record is nice. IR remote doesn't work from the rear, hence the wired remote.
Frary Guitar Duo | La Vechia Galliard | Tascam DR-100 MKII (built-in mic)
Solo and small ensembles of classical guitars are challenging to record due to low sound levels and subsequent high preamp gain. And this is where the MKII shines: preamps are fairly clean and an improvement over the DR-100 and DR-40.
The main sound quality gotcha is the limiter: sounds terrible so I don't use it. I've learned to be meticulous about gain levels. The limiter in the DR-44WL and DR-60D MKII sound better.
Peter Kun Frary | Agashi (Frary) | Tascam DR-100 MKII (built-in mic)
Honybal Sosa | Better Days | 80D and Tascam DR-100 MKII (built-in mic)
Recording with External Mics
Plug in a good set of condenser mics, and the DR-100 MKII is transformed into a serious recording studio. I use a matched pair of Neumann KM-184 condenser mics, and tracks sparkle. With mic sensitivity set to high, typical gain is 50 to 75% for acoustic guitar. The noise floor is virtually inaudible with these mics. Finally, I did a brief test with matched Shure 849 condensers, and there was plenty of gain for a clean recording of acoustic guitar, albeit these mics are slightly noisier than the Neumann.
Peter Kun Frary | Rosita | Tascam DR-100 MKII | Neumann KM184 (2X)
Peter Kun Frary | Bach Prelude | Tascam DR-100 MKII | Neumann KM184 (2X)
DR-100 MK II in action | Gitzo tripod with RRS Arca quick release
Final Blurb
I have a long history with Tascam equipment, going back to cassette Portastudios and DAT. And they always seem to masterfully balance great sound quality, musical needs, portability, and cost. And, indeed, I'm pleased with the DR-100 MKII: great features, thoughtful ergonomics, good fit and finish, sturdy metal build, and wonderful sound at a nice price.
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Major Features
• Balanced MIC or LINE inputs via XLR jacks
• XLR jacks have locking latches
• Cardioid & omnidirectional microphones
• Mic pre amps improved with higher gain and lower noise
• Up to 96kHz/24-bit WAV recording
• 32 to 320kbps MP3 recording
• XLR or 3.5mm stereo (1/8”) LINE input jack
• 3.5mm stereo (1/8") LINE output jack
• S/PDIF digital input (3.5mm stereo to RCA digital cable included)
• Wired/wireless remote control included (RC-10)
• Limiter and low cut filter
• Back panel dedicated switches
• Aluminum case
• VSA changes playback speed from -50% to +16%
• Records to SD or SDHC card (2GB card included)
• Cable with mini USB 2.0 jack Included
• Large thumbwheel individual gain control
• Built-in speaker
• Tripod mount
• Li-Ion battery, windscreen and carrying case also included
• Dual batteries: AA plus rechargeable Li-Ion
Included accessories
2GB SD card
BP-L2 lithium ion battery
Windscreen
Soft case
Wired remote
Wireless remote
USB and digital cables
Manual
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Controls
Connectivity
Sound Quality
