Summary of "NAB 2026: Deity Microphones [LIVE REUPLOAD]"

Main focus: Deity NAB coverage (LIVE reupload) and microphones/recorders workflow

Gotham Sound interviews Andrew (Deity) about new NAB products, with emphasis on the Deity PR4 and related models such as PR2 Mark II (plus questions about PR8/PR6, D4 RX, V-Mic D4 Mini, etc.).
The PR4 is positioned as a video-centric 32-bit float audio recorder for ENG/camera rigs—not as a repurposed “compact recorder for video.”

Designed to “sit in a sound bag” with a classic ENG-style layout.
Port placement mimics camera interfaces:
- Outputs on the left
- Inputs on the right
This layout supports typical rig routing patterns, including audio + timecode chaining.

PR4 includes brand-new preamps designed specifically for this recorder.
Claims discussed:
- Lower self-noise than previously
- More gain than any Deity preamp
- Up to ~60 dB gain
- Very low noise floor mentioned in the sub-(-107 / -127 dBV) range
Practical benefit described:
- Can drive dynamic podcast mics with less hiss
- May reduce the need for “lifters”
- Works well in portable setups

Supports 32-bit float, reducing dependence on getting gain perfect at capture time.
Demonstrated as useful for common dynamic/field scenarios and compact bag workflows.
Limiter behavior:
- A limiter is used within the 32-bit float workflow.
- Based on the description, limiter placement becomes most apparent when converting/blending to a 24-bit mix, while isolated tracks remain conceptually tied to the 32-bit float approach.
- The exact behavior was characterized as bit complex.

Two XLR inputs/outputs
- Described as mic/line with mode-dependent 48V mic power / phantom style options.
3.5mm jack
- Supports combinations such as line/mic
- Includes 5V bias for passive mic setups (example: “passive microphones or labs” mentioned).
AES mode
- Supports AES3 / AES42 (explicitly mentioned)
- In AES mode, enables four channels of AES on the XLR connectors
- Intended interoperability with wireless digital ecosystems
  - Examples referenced: Wisycom, Lectro, Quads, Zax
- Auto-mix concept:
  - Can create a reference track for post
  - While still delivering isolated tracks

Includes two balanced outputs (left/right balanced), configurable for:
- Sending to different cameras
- Left/right mix routing
- Headphone setups (including mention of multiple headphones via cascading)
Output configuration supports use cases ranging from single-channel routing to mixed use.

Features a touchscreen.
Uses bank/track navigation:
- tapping/pushing into track menus
Gesture-based navigation described:
- Swipe down: next take + metadata/file/folder setup
- Swipe up: view/adjust last take metadata
- Swipe right: jump into timecode menu
Knobs are context-sensitive, changing behavior depending on the current bank.
Includes basic vs advanced mode, with an option to operate controls like faders.

Supports:
- SD up to 1 TB
- internal 64 GB SSD
Can record a separate mix on internal storage while capturing tracks to SD.
- Framed as flexibility for left/right and a “polyphonic/all-tracks backup” style approach.

Timecode is in/out.
External trigger (GPI/GPIO) discussion:
- No GPI/GPIO currently
- Firmware expansion was considered possible, but not available at launch
Emphasis: can integrate with rigs using timecode, while external record trigger support was not confirmed for release hardware.

USB interface: Works as a USB stereo pair out, but the full USB audio feature set is not enabled yet; a roadmap was mentioned.
Compressor/remote control:
- No “compressor”
- A limiter exists in the 32-bit float workflow/mix blending approach
Bluetooth headphone monitoring:
- Works via the Sidus app
- Not direct Bluetooth monitoring (latency concerns); app-based monitoring supported
Android tablet support:
- Not yet planned immediately
- Android tablet fragmentation makes a comparable experience harder to deliver
Wireless mic ecosystem compatibility:
- AES mode designed for AES-capable digital mic / wireless receivers
- Example testing with Schoeps digital mic mentioned

Includes the same preamps as PR4 (same upgraded noise/gain philosophy).
Not 32-bit float stereo:
- remains 24-bit stereo
Positioned as a pocket recorder with strong mono focus:
- supports “mono love” (dual ADC approach in mono mode)
- stereo behavior described as using separation while mono mode folds back
Discussion clarified:
- PR2 stereo is fundamentally treated as 24-bit, while 32-bit float behavior is framed as a PR concept; PR2 remains 24-bit stereo per the answers given.

PR6 described as effectively replaced:
- PR6 was said to be “dead” because additional AES channels moved into PR8
PR8 not shown immediately due to complexity:
- four-channel AES in a slim form factor
D4 RX complexity:
- four channels in a slim package requires more development time due to PCB/space constraints

V-Mic D4 discontinued shortly after 2022.
Replacement: V-Mic D4 Mini
- includes an input designed to loop through setups
- intended for compact lav systems under cameras
- routes outputs into different channels (example described: sending to left/right channels for dual-channel camera capture without a full buildout)

PR4 includes voice-aware auto mix:
- detects who’s speaking based on incoming signals
- adjusts faders to prevent open mics from piling up and building the background when multiple mics are active

Viewers repeatedly asked about workflow integration, including:
- ENG bag camera rig chaining
- Rec’n’Roll / USB audio workflow questions
- whether USB audio is asynchronous vs synchronous (noted as a rare/deep topic)
- fitting PR4 into multi-recorder setups
Community feedback was encouraged via:
- YouTube comments
- Facebook user groups
- Instagram DMs/posts

Andrew (Deity) — primary product presenter/interviewee
Gotham Sound (host/interviewer) — NAB coverage host running the live Q&A and asking questions