4-Input / 6-Track Field Recorder

PR-4

Six tracks.
Pocket-sized.

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PR-4 field recorder, front three-quarter view, AMOLED screen showing six track meters
TC 01:23:45:12 25 F 48 kHz 32-bit float 6 TRK SSD + SD

What PR-4 is

PR-4 is a compact, forward-facing recorder for doc, ENG, and video creator workflows. It delivers 32-bit float performance, 4 inputs / 6 tracks, wired SMPTE LTC/ATC plus wireless timecode for DEITY’s ecosystem, and Sidus App control for integrated full wireless remote control.

  • 4in 6trk4 Inputs, 6 Tracks
  • 32bit32-Bit Float Dual ADC Preamps
  • 2×mediaDual Media; Twice as Safe
  • TCWireless Timecode

Recognition

The most award winning audio recorder

The Deity PR-4 has quickly established itself as an award-winning field recorder, earning recognition from respected organizations across production, broadcast, and filmmaking. The PR-4 stands out as one of the most exciting new audio devices introduced in 2026.

  1. NAB Las Vegas 2026 Product of the YearWinner
  2. Videomaker Magazine Product of the YearWinner
  3. CVP NAB 2026 Product of the YearHonorable Mention
  4. Cinegear 2026 Best in Show presented by ProVideo CoalitionWinner
  5. Cinegear 2026 Technical Achievement AwardWinner
  6. BIRTV 2026 Product Recommendation AwardWinner
  7. IBC 2026 Best in Show presented by CineDWinner
  8. Pro Moviemaker Magazine Gear of the Year Awards 2026Shortlist Nominee
PR-4 closed and powered on, AMOLED screen lit

Six layers. One compact recorder.

From the AMOLED glass to the rear tally, everything that makes PR-4 a 4-input, 6-track recorder, stacked into one unit.

01

ReGain Preamps

Up to 60 dB of gain, -127 dBV EIN

02

NP-F Power

Internal NP-F550 bay, USB-C PD and 4-pin Hirose-compatible power

03

True Dual Media

SSD + SD: the internal 64 GB SSD and a swappable SD card, recording at once

04

Rear Tally / AES3 + AES42

Rear tally light, digital inputs for Quad RX pairing

ReGain Preamp™

Introducing the ReGain Preamp™

The PR-4 features the brand new ReGain Preamps™, ultra-quiet microphone preamps that deliver up to 60 dB of gain, providing enough amplification to drive even demanding dynamic microphones without the need for external inline boosters.

Achieving an Equivalent Input Noise of -127 dBV (-125 dBu) represents a significant engineering accomplishment for the PR-4’s preamp design. Measured under A-weighted conditions at 60 dB gain with a 150 ohm source, this level of performance places the PR-4 firmly in professional territory, delivering an exceptionally low noise floor that preserves detail and clarity even with low-output microphones.

Close view of the PR-4 gain knobs and record button

60dB

Of clean gain, no inline booster needed

−127dBV

EIN (-125 dBu), A-weighted, 60 dB gain, 150 Ω source

VoiceAware Automix™

Introducing the VoiceAware Automix™

VoiceAware Automix™ intelligently manages multiple microphones in real time, dynamically prioritizing active voices while subtly reducing the presence of inactive channels. By continuously analyzing incoming signals, it maintains a clean and focused mix that minimizes ambient buildup and keeps dialogue clear and intelligible, even in multi-speaker environments.

The result, VoiceAware Automix™ creates a clean, well-balanced stereo reference mix for post-production, giving editors a helpful starting point.

Two hosts recording a conversation on a studio set, PR-4 on the table between them

I/O built for real-world shoots

Right side of the PR-4: two XLR combo inputs, the 3.5 mm input and the 4-pin DC socket
Input
2× XLR (Mic, +48V, Line, AES3, AES42)
Stereo 3.5 mm TRS
Outputs
2× Stereo 3.5 mm TRS Main Outputs
3.5 mm Timecode I/O
3.5 mm Headphone
Routing
Output 1 & 2 Matrix
Headphone Matrix
L / R Mix Track Matrix

Port map

Right side: inputs and DC

  1. 1Balanced input 1: XLR / 6.35 mm TRS combo. Mic, Mic 48V, Line, AES3 (1&2) or AES42
  2. 2Balanced input 2: XLR / 6.35 mm TRS combo. Mic, Mic 48V, Line, AES3 (3&4) or AES42
  3. 3Unbalanced input 3/4: 3.5 mm TRS, two channels
  4. 4DC power: 4-pin Hirose-compatible, 12V to 18V

Left side: outputs and USB

  1. 5USB-C: power and NP-F550 charging, file transfer, audio interface
  2. 6OP 1: 3.5 mm TRS main output
  3. 7OP 2: 3.5 mm TRS main output
  4. 8TC I/O: 3.5 mm timecode in and out
  5. 9Headphone: 3.5 mm TRS

Rear: power and media

  1. 10Logo LED, works as a tally light
  2. 11Battery compartment cover release
  3. 12Behind the cover: NP-F550 battery bay and SD card slot

Front: controls

  1. ACH1/3 knob button: press for track settings, turn for gain
  2. BCH2/4 knob button: press for track settings, turn for gain
  3. CREC button
  4. DSelect knob button: headphone volume, press for quick settings
  5. EMARK button
  6. FMenu/Back button

Top and bottom

  1. T/BArri-style 1/4″-20 mount with locating pins on both, power switch on top

SSD + SD

True dual media

Using a dedicated recorder like the PR-4 with dual media recording helps protect against some of the most common data-loss scenarios in production. SD cards can be lost, corrupted, or accidentally formatted during a busy shoot or when offloading media at the end of the day. By recording simultaneously to both an SD card (up to 2TB) and the internal 64GB SSD, the PR-4 provides a built-in safety net, ensuring there is always a second copy of your audio even if something happens to the primary card.

We also allow you to record different signals to each media format. Client asks for just a stereo file? You can still record the POLY file as a backup… just in case.

REC 01:23:45:12

SSDInternal 64 GB

POLY · 6 TRKPOLY · 6 TRK

SDSwappable card

POLY · 6 TRKSTEREO · L/R MIX

Both media write the same polyphonic file at the same time.The SD card gets the stereo mix for the client; the SSD keeps the full poly file.

A sound mixer adjusting PR-4 in its bag on a sound cart, actors rehearsing on set behind

9.5 hrs battery life

The PR-4 runs on rechargeable power.

PR-4 from the back with the battery door open and the yellow Deity NP-F550 battery half out, USB-C port on the side

NP-F550 + USB-C

The PR-4 features an internal NP-F550 battery bay that can be recharged via the USB-C port on the side of the unit. It also can just run off the USB-C port if you want, making external power options cheap and readily available.

PR-4 side with the 4-pin push-pull power port

4-pin push-pull

For the professional looking to integrate the PR-4 into a bigger setup, there is a 4-Pin Push Pull Power port on the other side of the unit that is compatible with the SPD-1, SPD-Mini, or can be fed direct power from the S-95 using the SPD-HRBatt. It too can also be used to recharge the internal L-series battery.

LiveHit DeNoiser™

Introducing LiveHit DeNoiser™

LiveHit DeNoiser is designed to prioritize intelligibility in real-world recording conditions by actively shaping the audio signal around the human voice. And it does all that without adding measurable latency to your audio.

It focuses on reducing ambient distractions like traffic, wind, and environmental rumble while preserving the core presence and clarity of the speaker. The result is a reporter’s microphone track that cuts through the mix, helping operators capture usable dialogue even when live broadcast in uncontrolled environments.

Traffic, wind, rumble Voice kept

More PR-4 features

Rear of the PR-4 with the tally light on

Rear tally light

A tally light on the back of the unit shows when the PR-4 is rolling, so the camera operator, boom op or talent can check the recorder at a glance, even when it sits in a bag or on the back of a rig.

Also a camera audio interface. The PR-4 can also function as a compact audio interface for cameras, allowing multiple microphones to be mixed and sent directly into the camera as a clean, mixed signal.

AES3 / AES42

AES3/AES42 support

Quad RX units typically require AES3 support to achieve all 4 channels. Making the PR-4 a perfect pairing with a Quad RX.

SSD & SD

Automated sound reports

Automatically logging every session and embedding critical metadata directly into each file, to both the SSD & SD Card.

SC 12 / TK 3

Stay organized going into editing

We give you metadata control over; Folder Name, Scene / Take File Name & Preset Notes per File

.WAV · 6 TRK

Polywave file support

No longer will you have to juggle multiple mono or stereo tracks. Polywave support and Track names work in your favorite video editing software.

Two PR-4 units held in hand: one shows the two XLR combo inputs, the 3.5 mm input and the 4-pin DC socket, the other the USB-C port and four 3.5 mm jacks

Wireless timecode

World’s first recorder to natively wirelessly sync timecode boxes & slate

A camera operator on a gimbal and a sound mixer in headphones at a PR-4 on a cart, working the same scene

The goal has always been for the recorder to be the TC master source on a video shot, now it truly is.

The PR-4 is able to act as the master timecode generator for a small production team. Through our wireless timecode protocol, the PR-4 is able to transmit its timecode to our entire timecode ecosystem of devices:

TC MASTERPR-4

3.5mm TC I/O

The PR-4 also features a 3.5mm TC I/O port. Timecode jam a camera and other gear with SMPTE LTC/ATC.

Accuracy target: 1 frame / 72 h.

Accessories

PR-4 in the Field Audio Bag (Mini), wireless receivers cabled in on top, a hand resting on the rig
Hands lifting a PR-4 rig out of the Field Audio Bag (Mini) with two Deity wireless receivers mounted on top

Field Audio Bag (Mini)

The Deity Field Audio Bag (Mini) is a compact field audio bag designed specifically for the PR-4 recorder, giving sound mixers a lightweight way to build a portable multichannel recording rig. Built from durable rip-stop nylon, the bag provides the strength needed for location work while incorporating comfort and design details for fast-moving productions.

The bag features an all-around zipper design, allowing quick access to the left and right sides of the recorder for cable routing while also opening underneath the bag to access the SD card slot and NP-F battery without removing the recorder. This layout makes it easy to swap media or batteries between shooting days while keeping the recorder fully mounted in the bag.

Inside the bag, a metal support frame and internal sub-chassis give the bag structure and help separate the recorder from the accessory pouch, keeping gear organized while protecting the recorder during transport and use. The entire interior is lined with soft Velcro-compatible felt, allowing users to customize the interior with hook-and-loop mounted accessories.

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Build different; think outside the audio bag

When developing the PR-4 we wanted to improve every aspect of the experience, even how it mounts. After years of having items spin in place when screwed into camera cages or on rigs, we knew basic 1/4″ mounts weren’t going to cut it. Under and on top of the PR-4 are dual Arri-Style 1/4″ 20 mounts with locating-pins.

Now when you mount the PR-4 onto a camera cage, you know it will be truly secured to the cage. And when you go to add accessories on top of it, those accessories aren’t budging either.

The cage also features a built-in ORTF microphone layout, allowing users to quickly mount a matched pair of microphones in the correct stereo configuration without needing separate bars or adapters. By integrating these mounting points directly into the frame, the PR-4 can be transformed into a fast stereo recording solution for ambience, sound effects, and field recording. This design keeps setups compact, repeatable, and easy to deploy in the field.

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A person holding a caged mirrorless camera and the PR-4 in its cage, with a Deity shotgun microphone and wireless receiver mounted on the recorder
PR-4 recording on a table, top plate with its 1/4 inch mount and locating holes, XLR cables plugged in
Hands holding the PR-4 in its cage next to a camera

Support

Downloads & documents

PR-4 Firmware

Version 1.3 · ZIP file
  • Added support for app playback, file management, file renaming, quick note, MARK, FASTNOTE and track name editing
  • Added a quick PFL toggle
  • Optimized auto-mixing
  • Fixed a USB digital audio compatibility issue
  • Meter display lower limit changed from -50 dBFS to -60 dBFS; monitor volume gain lower limit changed from -40 dB to -60 dB
  • When adjusting output volume, monitor volume now applies to the 1 kHz tone output
  • Improved VU meter display performance
  • Optimized timecode
  • Fixed an abnormal sound issue with large input signals
  • Fixed battery errors

For older firmware versions, check out our downloads page: HERE

Specifications

Specifications

PR-4 front view
98 × 80 × 41 mm (H × W × D) · 218 g ±5 g

Audio

Sample Rate
48KHz, 96KHz, 192KHz
Bit Depth
24bit, 32bit, 32bit Float
Input Frequency Response
20-80 kHz (192 kHz Sample Rate)
Input Dynamic Range
137 dB or higher
Input Noise Floor (EIN)
-127 dBV max (mic in, A-weighting, 60 dB gain, 150 Ohm source impedance)
THD+N
0.005% max

Inputs

Inputs
4x Dual-ADC Analog or 4x Digital
2x XLR/6.3mm Combo Inputs (2x Analog Balanced Channels or 4 Digital Channels)
3.5mm TRS (2x Analog Unbalanced Channels)
Phantom Power
Analog: 48V Phantom 10 mA (each Input)
Digital: 10V 250 mA, Mode-1 ASRC
Input Types
XLR 1: Mic, Mic 48V, Line, AES3 (1&2) or AES42
XLR 2: Mic, Mic 48V, Line, AES3 (3&4) or AES42
TRS 3: Mic, Mic 5V, Line
TRS 4: Mic, Mic 5V, Line
Max Input Level
Line 24 dBu
Mic 11 dBu
Gain Staging
Trim stage (mic input): 0 dB to +60 dB
Trim stage (line input): -20 dB to +30 dB
Trim stage (AES3 input): -20dB to +40 dB
Fader stage: -inf to +20 dB
Bus stage: -inf to +20 dB
Headphone stage: -40 dB to +10 dB

Processing

Low Cut Filters
75 Hz or 150 Hz 3 dB/oct
EQ Filters
Independently Enableable: Channels 1, 2, 3, 4, Mix L, Mix R
3-Band Parametric Equalizer
Limiter
Limiters available at All Channels, For All Sample Rates
Post: Dual-ADC Conversion
Attack: 0.75ms
Release: 1000ms
Threshold: -6 dBFS
Ratio: 1:1
Knee: Soft
Delay
Channel Adjustable: 0 to 50ms
Output Adjustment: 0 to 50ms
Analog Input to Analog Output Latency: 3.93 ms (Input Pass-Thru)
Analog Input to Analog Output Latency: 4.76 ms (Mix Bus)
Buses
2 Buses (L, R)
Left Right Mix Bus Receive Post-Fader Channels

Outputs

Outputs
TRS OP 1: 1 Channel Balanced or 2 Channels Unbalanced
TRS OP 2: 1 Channel Balanced or 2 Channels Unbalanced
TRS TC: 2.5V Vpp LTC or TC + Right Mix Bus (Mic Level)
Output Routing
OP 1: 1, 2, 3, 4, L or LR
OP 2: 1, 2, 3, 4, R or LR
Headphone Output
3.5mm TRS
>16 ohm Output Impedance
300 mW + 300 mW L/R
THD + N <0.01% (16 Ω Load, PO = 35 mW, f = 1 kHz)

Recording & storage

Storage
Internal 64 GB SSD
Swappable SD Card up to 2TB (exFAT)
Recording Format
64-bit BWF (RF64) polyphonic wave
64-bit WAV (RF64) stereo wav
Pre Record Times
0 to 10 Seconds
Polywav Format
6 tracks (up to 4 iso channels, up to 2 buses)
64 GB SSD Recording Times (6 Tracks)
The Following Are Estimates:
≈18Hrs (24-Bit, 48 kHz)
≈9Hrs (24-Bit, 96 kHz)
≈4.5Hrs (24-Bit, 192 kHz)
≈13.75Hrs (32-Bit, 48 kHz)
≈7Hrs (32-Bit, 96 kHz)
≈3.5Hrs (32-Bit, 192 kHz)
USB Port
File Transfer: Mass Storage Class 2.0 (SD or SSD)
Audio Interface: 2 Channel Output (48kHz 32-Int PCM)
Power: PD Protocol Triggering (5/9/12V)

Timecode

Timecode Support
LTC
ATC
Wireless Timecode
Timecode Framerates
23.98F, 24F, 25F, 29.97F, 29.97DF, 30F, 47.95F, 48F, 50F, 59.94F, 59.94DF, 60F
Wireless Timecode
2.4G IEEE 802.15.1
8 Wireless Channels (A to H)
Timecode Accuracy
±0.5ppm with Algorithm Compensation
1 Frame Drift Every 72 Hours

Power & build

Power Inputs
NP-F550
USB-C PD (5/9/12V)
4-Pin Hirose-Compatible (12V to 18V)
Battery Life
≈9.5 Hours (Depending on Settings)
Power Consumption (non-AES mode)
NP-F550: 2.62 Watts
DC: 3.16 Watts
USB-C 2.6 Watts
Screen
AMOLED (RGB Color)
456×280
Dimensions
98 × 80 × 41 mm (H × W × D)
3.9 × 3.1 × 1.6 in (H × W × D)
Weight
218g ±5g (without Battery)
Mounting Options
The top and bottom surfaces have nut installation positions: 1/4 inch nuts with a depth of 6.5mm
Operating Temperature
-20° C to 50° C (0 to 90% relative humidity, non-condensing)
Storing Temperature
-40° C to 60° C