Tascam announces a new updated "Pro" model of the Tascam DR10L for US$219 that includes timecode support

[IronFilm]

"Tascam has announced the DR-10L Pro, this is the newest addition to the DR-10L family. While the Pro version maintains a similar form factor and functionality, it adds the ability to record in 32-Bit Float and offers Atomos Wireless Time-Code-Sync Support."

https://www.newsshooter.com/2023/07/06/tascam-dr-10l-pro-with-32-bit-float-recording-timecode-support/

Battery life has gone up from 10.5hrs to 24.5hrs (based on two AAA lithium batteries)

Has a high-visibility OLED display, with lots of physical menu buttons for navigation. 

Has a headphone output so you can monitor the audio before/during/after recordings. 

Has an app for Android and iOS phones, you can add metadata (including project name, scene name, and take number) to the audio file. The app also gives you visual confirmation of the input audio with a waveform display over time. You can name each DR10L Pro via the app, for easy identification. 

The DR10L can now take MicroSD cards sizes up to a massive 512GB. (previous limit was 32GB) 

Comes with a free copy of iZotope RX Elements. 

Available now to preorder:

https://www.bhphotovideo.com/c/product/1773575-REG/tascam_dr_10l_pro_personal_recorder.html

[IronFilm]

 

[BTM_Pix]

Looks good.

I could certainly do with another product that isn't compatible with my Atomos Connect 😉 

 

[Marcio Kabke Pinheiro]

6 hours ago, IronFilm said:

"Tascam has announced the DR-10L Pro, this is the newest addition to the DR-10L family. While the Pro version maintains a similar form factor and functionality, it adds the ability to record in 32-Bit Float and offers Atomos Wireless Time-Code-Sync Support."

https://www.newsshooter.com/2023/07/06/tascam-dr-10l-pro-with-32-bit-float-recording-timecode-support/

Battery life has gone up from 10.5hrs to 24.5hrs (based on two AAA lithium batteries)

Has a high-visibility OLED display, with lots of physical menu buttons for navigation. 

Has a headphone output so you can monitor the audio before/during/after recordings. 

Has an app for Android and iOS phones, you can add metadata (including project name, scene name, and take number) to the audio file. The app also gives you visual confirmation of the input audio with a waveform display over time. You can name each DR10L Pro via the app, for easy identification. 

The DR10L can now take MicroSD cards sizes up to a massive 512GB. (previous limit was 32GB) 

Comes with a free copy of iZotope RX Elements. 

Available now to preorder:

https://www.bhphotovideo.com/c/product/1773575-REG/tascam_dr_10l_pro_personal_recorder.html

Don´t remember if I already asked you: I know that 32-bit float give a lot of room (in fact, almost make it impossible) to sound do not clip.
But if the sound already comes clipped from the microphone (recording a loud concert that exceeds the SPL of the mic), the recovering of the clipping is impossíble, right?

[IronFilm]

Correct.  You need to find a mic that can handle that high SPL. Or think more about your mic placement,  that would be the easiest/best fix.

 

This is also true for wireless,  you distort that, there is  no way to recover it.

[92F]

15 hours ago, Marcio Kabke Pinheiro said:

But if the sound already comes clipped from the microphone (recording a loud concert that exceeds the SPL of the mic), the recovering of the clipping is impossíble, right?

 

10 hours ago, IronFilm said:

Correct.  You need to find a mic that can handle that high SPL.

I don't understand ?!
If you use a classic recorder, it will be the same because the modulation is done at the preamp level of the recorder... right?

The 32-bit float records automatically by sub-modulating and is recovered afterwards in post production ... like a log with limits, the limits of the sensor.

Thanks

[IronFilm]

2 hours ago, 92F said:

I don't understand ?!

Microphones, wireless, and recorders all have limits. Just because you're recording it in a digital bucket with 12,345,678 bits doesn't mean you can recording unlimitedly loud sources as close as you wish. 

If you travelled back in time to 1883 to record the volcanic eruption of Krakatoa, don't expect just because you're using 32bit that the recordings will all go perfectly smoothly (well, ignoring the possibilities of death... which obviously is a far greater worry than your audio recordings!!).  Because it was 180dB even at 100 miles away!! 

The question was if the sound was already clipped when it reached the recorder, could then the recorder recover it? The answer of course is "no". 

This is one of the many reasons why 32bit is so utterly pointless on professional film sets, and why not a single professional recorder on the planet supports 32bit recordings, because there is no demand for it. As we're operating in a 100% wireless environment. (and besides, 24bit is already a massive dynamic range! No professional Sound Mixer should ever be so utterly incompetent that they'd normally screw that up. It's not like in the bad old days when we recorded to 16bit, with weak preamps too, and it was a tricky dicey job to get the levels just right, not too hot and not too low either) 

[newfoundmass]

2 hours ago, 92F said:

I don't understand ?!
If you use a classic recorder, it will be the same because the modulation is done at the preamp level of the recorder... right?

The 32-bit float records automatically by sub-modulating and is recovered afterwards in post production ... like a log with limits, the limits of the sensor.

Thanks

A recorder only records what the mic feeds it. If the sound source is too loud for the microphone being used to record then the recorder will record that, regardless if it's 32-bit or not. It's not an issue with the recorder, it's an issue with the recorder. There's nothing you can do when the mic itself can't handle the loudness going into it. 

[92F]

3 hours ago, IronFilm said:

This is one of the many reasons why 32bit is so utterly pointless on professional film sets, and why not a single professional recorder on the planet supports 32bit recordings, because there is no demand for it. 

Ok i am agree whith you,  of course it's better to use a sound engineer who monitors perfectly

So I'm going back to my idea,:  with the same usual microphone in solo and well placed, the 32 bits will avoid a backup sound recording under modulated for example. (in report)...

But I understand that for you it's more a problem than a help..

Thanks for your kind reply

[IronFilm]

12 hours ago, 92F said:

Ok i am agree whith you,  of course it's better to use a sound engineer who monitors perfectly

I mean, you don't even need to be an amazingly perfect audio engineer wizard to get the levels right for a 24bit recording. With only a little bit of experience you can get the gist of it right. 

[92F]

2 hours ago, IronFilm said:

 With only a little bit of experience you can get the gist of it right. 

This is for me the definition of a good sound engineer.

Here is a discussion on the same subject (32 bits Float) in French with some old and good sound engineer...:  "Not revolutionary but makes good service "    I like this conclusion... https://www.repaire.net/forums/discussions/le-32-bits-a-virgule-flottante-en-question.292069/#post-1970448138

After each one chooses the right tool for him according to the moment and there are many tools which use the 32 bits floating point comme le Zoom F2, Zoom F3.... or SoundDevice MixPre 10 II (not really amateur) , MixPre 3 II , MixPre 6 II  ou encore  Tentacle Track E - Timecode Audio Recorder... Tascam is the least  to day ?

it is not a gadget and it is limited only by the one who places his microphone,  not by the microphone itself (or we do not know how to choose it and place it... SPL 120 dB is already good for many situation ). ..

If we take that into account,  there is no reason not to use 32 bits float...

Thanks for your kind reply and good day...👍

[IronFilm]

16 hours ago, 92F said:

SoundDevice MixPre 10 II (not really amateur) 

It's a prosumer recorder. 

16 hours ago, 92F said:

If we take that into account,  there is no reason not to use 32 bits float...

There are heaps of reasons to not use 32bit. 

Such as a desire to not be fired from my job!

32bit is not acceptable from a PSM on normal usual professional shoots. 

Imagine if you got hired to do a quick piece to camera for that night's 6 o'clock news, and you gave them 8K red raw 3:1 files, do you think you'd ever be hired by them again? Nope!

You record that in 1080 50Mbs 422 PAL (or whatever is locally expected from you). 

It is a far from perfect analogy, but hopefully you get the gist of it. 

[92F]

On 7/9/2023 at 3:58 AM, IronFilm said:

Such as a desire to not be fired from my job!

32bit is not acceptable from a PSM on normal usual professional shoots. 

 

Do you think that everyone who uses 32bit Float works under the same conditions as you? You just gave the answer..it's no..they would be unemployed.

Besides, would they come here to ask for advice on the use of 32 Bit float ?  No also

So all the others can use the 32 bist float ... the microphone is no more a brake in 24 bits than in 32 bits Float you explained it very well.

But in 24 bits you can use a limit which is another more classic way to secure your sound ... and there is no need for 32 bit float but everyone chooses their method.

For me it is now very clear .... a big thank you for your help