The DR-60D MKII is optimized for DSLR video shooters—lacking music extras like a tuner and metronome—but otherwise sports most of the features of the DR-40 but housed in a camera and tripod friendly case encrusted with physical controls.
Tascam DR-60D MKII | Buttons and knobs galore: faster adjustments and less menu surfing (images courtesy Tascam).
Frary Guitar Duo | Duo Op. 34 No. 3 (Sor) | Tascam DR-60D MKII (Wav 48K and 24-bit stereo) | Neumann KM184 (2X) | Canon EOS 80D
Construction
Although tiny, the boxy form factor isn’t palm friendly and is at its best on a tripod, Magic Arm or cage. The plastic body feels well made but is not as sturdy feeling as the metal body of the DR-100 II. Unlike most Tascam portable recorders, there are no built-in mics. A tiny forward facing monochrome LCD displays levels, modes and menus. It isn’t a touchscreen but is clearly visible in darkness and direct sunlight. If powered by USB, the LCD remains illuminated. And, because it’s not angled like the DR-70D LCD, it’s visible in an audio bag, on the floor or topside a camera.
Peter Kun Frary | Allemande (Losy) | Tascam DR-60D MKII | Neumann KM184 (2X) | Shure A27M | EOS 80D (2X)
A tripod socket beneath and tripod bolt above allow connection to studio support and cameras. I use an Arca plate for fast mount/dismount. The top tripod screw is handy for light duty use such as attaching a battery pack, mic, wireless transmitter, etc. Tascam depicts a camera sitting on it but turning the locking wheel to secure a camera would only be practical for those with fingers like chopsticks.
Controls
I choose the DR-60D MKII over the DR-70D due to the abundance of physical controls—specifically phantom power switches—and the forward facing LCD. When mounted on an arm or tripod, the frontal LCD and controls are easier to see and use compared to palm size recorders like the H6 or DR-100 MKII. The rubberized buttons and wheels operate smoothly and are easy to access. Channels 1/2 have individual gain controls. Channels 3/4 are linked to a 3.5mm TRS stereo jack with only a single global level gain adjustment.
You need to visit the menus to access some features like limiter, high pass filters, card format, plug in power for the 3.5mm input port, etc. However, most regularly used controls like phantom power, gain, mixer, headphone and camera output, etc, are at your fingertips.
Right Side Layout | USB port, SD card slot, line out and headphone jacks
Left Side Layout | Clean mic preamps with locks and TRS!
Bare Bottom | Tripod socket
Connectivity
Combo XLR and TRS inputs allow recording from external pro mics or line level sources such as mixers and outboard mic preamps. XLR preamps have four levels of input sensitivity but, unlike the DR-100 II, sensitivity is set via menus (no switches). There’s a switch to toggle XLR inputs from mic, phantom power and line level. A 3.5mm stereo mic input is also supported, defaulting to channels 3/4. Power for the 3.5mm mic input must be activated from a menu.
Stereo 3.5mm audio outputs with physical gain knobs—mic level and line level—are provided if you wish to jack directly into your camera or another device. I don't use the DR-60 MK II on my camera since I'm either playing guitar or speaking and need to monitor levels while on set. However, I often use a Synco wireless transmitter to send DR-60 MK II audio to my camera. Works great: clean and no problems with RFI, unlike extension cables. The audio on the Tascam's SD card is ultimately better—higher sample and bit rates—but at the least the camera records a good backup and guide tracks for syncing.
Batteries
Four AA batteries are housed in a compartment on the backside. Batteries can be swapped out while the unit is tripod or arm mounted. I use Eneloop Pro rechargeable batteries and they only last about four hours with phantom power. I avoid standard Eneloop as they're hard to install/remove due to the slightly larger size. The short battery life is disappointing but easy to work around (see below).
Peter Kun Frary | Sarabande BWV 995 (Bach) | Tascam DR-60D MKII | Neumann KM184 (2X) | Shure A27M | EOS 80D (2X)
The old style mini-USB port—no USB-C—is only for bus power or uploading to a computer. For long sessions I plug in a USB “lipstick” battery bank and it yields an additional four or five hours. For marathon sessions I strap on a USB battery bank, the Anker Astro E4 13000mAh Portable Charger: power for days with phantom power and can be screwed into the top of the DR-60D with a smartphone tripod mount.
Sound Quality
I mainly record soft finger picked guitars and these preamps have plenty of gain when set to “high” sensitivity: 25 to 50% gain for -12 dB set with KM-184 mics. It has enough gain for dynamic mics like the Shure SM-57 or Rode PodMic, typically 75 to 90% gain. Quiet passages of classical guitar pieces were wonderfully clean, transparent and devoid of noise. Preamps are significantly cleaner than the DR-40 and a level better than the DR-100 II.
When recording on location, high pass filters—called low cut filters by Tascam—are desirable for removing rumble and hum. The DR-60D MKII has three high pass filter presets: 40, 80 and 120Hz. Tascam's bass reduction profile is aggressive and overlaps its specified frequency significantly: the 80Hz setting cut deep into the tone of my guitar and speaking voice. It shouldn't since I'm a baritone and can't get near to 80Hz. Unfortunately, a precise frequency or reduction profile can't be set. Thus, I normally use the 40Hz filter—it's so aggressive it acts more like a 60Hz high pass filter.
Session Ready | With the DR-60D MKII on a tripod, I control and monitor audio while shooting music video selfies. The white cable on the right is connected to an Anker USB battery pack.
Finally, the 60D MKII can record various combinations of stereo and mono modes, e.g., stereo plus two mono tracks, but these tracks must be recorded simultaneously. In other words, unlike the DR-40 and DR-44WL, it lacks the ability to “punch in,” while playing back a track. Normally I’d add additional audio in a DAW during post production but it seems shortsighted to omit such features when similar units have them.
Musings
I'm happy with the DR-60D MK II: excellent recording quality, clean preamps, easy to access controls and plenty of gain for soft instruments. I'm especially pleased with the easy to use interface for "selfie" audio and video recording and the physical phantom power switches. Plus operation is straightforward and I barely needed to crack the manual. Much easier to use on set than an audio interface and MacBook. Cons are short battery life, small LCD and no punch-in features. All in all, the DR-60D MKII is a great choice for those needing to record live music performances and DSLR audio.
August 8, 2024 update. It's been nearly a decade of regular use and the DR-60D MK II is still going strong in my studio. Amazingly, it is still in production. I assume such longevity has a lot to do with reliability, abundant physical controls, solid sound and an affordable price. It's actually less expensive now than when I bought it in 2015.
Finally, please help support this website by purchasing this device at Amazon.
DR-60D MKII Recording | Grace Frary playing Bach's "Sleepers Awake": Neumann KM184 mics, Wav 48K/24-bit stereo and EOS 80D video.
Major Features
Two Locking XLR/TRS balanced MIC/LINE inputs with phantom power
3.5mm stereo TRS (1/8") input jack
Stereo, four-channel, or dual stereo recording modes
Up to 96kHz/24-bit WAV/BWF recording
Independent adjustable LINE OUT and HEADPHONE jacks
Limiter and Low cut filter (40/80/120Hz)
Record to SD/SDHC card (up to 32GB)
128x64 monochrome LCD with back-light
Tripod and camera mounts
Slate tone (0.5/1/2/3 sec, when auto-generated)
Batteries: Four AA
Included Accessories
Micro USB cable and paper manual
Frary Guitar Duo | "Father I Adore You" | Tascam DR-60D MKII | Neumann KM184 (2X) | Shure A27M | EOS 70D
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Controls
Connectivity
Sound Quality 
Major Features 