SIX TRACKS. POCKET-SIZED.
PR-4 is a compact, foward-facing recorder for doc, ENG, and video creator workflows—delivering 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.
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.
NAB Las Vegas 2026 Product of the Year — Winner
Videomaker Magazine Product of the Year — Winner
CVP NAB 2026 Product of the Year — Honorable Mention
Cinegear 2026 Best in Show presented by ProVideo Coalition – Winner
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.
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.
I/O Built for Real-World Shoots
Input
Stereo 3.5 mm TRS
Outputs
3.5mm Timecode I/O
3.5mm Headphone
Routing
Headphone Matrix
L / R Mix Track Matrix
Contact Your Local Dealer to Pre-Order
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 1TB) 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 ask for just a stereo file? You can still record the POLY file as a backup… just in case.
+8 Hrs Battery Life
The PR-4 runs on rechargeable power.
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.
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 form the S-95 using the SPD-HRBatt. It too can also be used to recharge the internal L-series battery.
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.
Rear Tally Light
AES3/AES42 Support
Automated Sound Reports
Stay Organized Going Into Editing
POLYWave File Support
World’s First Recorder to Natively Wirelessly Sync A Timecode Boxes & Slate
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 transmit it’s timecode to our entire timecode ecosystem of devices:
- DBTX Transmitter
- DXTX XLR Transmitter
- DLTX Lemo 48V Transmitter
- PR-2 Pocket Recorder
- PR-2ii Pocket Recorder
- TC-1 Timecode Box
- TC-SL1 Timecode Slate
And of course… other PR-4 units
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 / 48 h.
Or wirelessly sync using via the Sidus Audio App.
Contact Your Local Dealer to Pre-Order
Accessories
Field Audio Bag (Mini)
The Deity 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.
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 are 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.
We expect units to start shipping mid~May.
PR-4 Product Manual – English PDF
PR-4 Battery Compatibility Sheet – English PDF
PR-4 Cage Instructions – English PDF
PR-4 Firmware:
Version 1.2 – 💾 ZIP File
● Stability improvement for firmware upgrade
● Compatibility improvement for SD cards
● Compatibility improvement for USB card reading on Apple Mac computers
● Fixed timecode compatibility issue
● Fixed the timecode issue when pre-recording mode is enabled
● Optimize the recording preparation function
For older firmware versions, check out our downloads page – HERE
| 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 | 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 ~ +60 dB Trim stage (line input): -20 dB ~ +30 dB Trip stage (AES3 input): -20dB ~ +40 dB Fader stage: -inf ~ +20 dB Bus stage: -inf ~ +20 dB Headphone stage: -40 dB ~ +10 dB |
| Low Cut Filters | 75 Hz or 150HZ 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 ~ 50ms Output Adjustment – 0 ~ 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 | 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) |
| 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 ~ 10 Seconds |
| Polywav Format | 6 tracks (up to 4 iso channels, up to 2 buses) |
| 64Gb 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 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 ~ H) |
| Timecode Accuracy | ±0.5ppm with Algrothium Compensation 1 Frame Drift Every 72 Hours |
| Power Inputs | NP-F550 USB-C PD (5/9/12V) 4-Pin Hirose-Compatible (12V ~ 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 ~ 50° C (0 to 90% relative humidity, non-condensing) |
| Storing Temperature | -40° C ~ 60° C |