Topic: Tentacle Track E - 1CH of 32 bit FP recording

[aaronji]

Even just having stereo recording like the Tasam DR10L does (with a 2nd channel at a lower gain) would be fantastic for those who want to stick with a 24bit workflow instead of leaping over to 32bits

Not for most tapers who record live music and want actual stereo...

[jerryfreak]

another youtube vid that seems to imply they have their own timecode generator in each one, so youd only need the phone app, not a separate sync-E to sync multiple units

https://www.youtube.com/watch?v=azAwB4CTTYE 

[adrianb]

Even just having stereo recording like the Tasam DR10L does (with a 2nd channel at a lower gain) would be fantastic for those who want to stick with a 24bit workflow instead of leaping over to 32bits

Not for most tapers who record live music and want actual stereo...

For that I'm inclined to think that the Roland R-07 with the safety track is the best "set it and forget it" unit for stealth.

If Tentacle (or anybody) brings out a small two channel 32-bit float recorder I'm buying it.

[aaronji]

^ Personally, I don't really need a safety track. I am a pretty good judge of where to set my levels and 24-bit allows you to be pretty conservative. I would love a stereo version of this recorder, though, with its variable plug-in power. An 1/8" locking male to two microdot female Y-cable and a pair of 4060s with that would be awesome...

[jerryfreak]

latest response to my query:

thanks for your interest our upcoming audio recorder: Track E. We are still refining the recorder and working hard to get it ready as soon as possible. We hope to release the final version of it at NAB this spring and start selling it shortly after NAB. We will let our customers know about any updates and news via Instagram, Facebook and our newsletter. So please stay tuned.

i told them to make a 2-channel 32-bit float recorder and they would sell a lot of them!

[voltronic]

^ Personally, I don't really need a safety track. I am a pretty good judge of where to set my levels and 24-bit allows you to be pretty conservative. I would love a stereo version of this recorder, though, with its variable plug-in power. An 1/8" locking male to two microdot female Y-cable and a pair of 4060s with that would be awesome...

If that 1/8" stereo input could handle line level so you could use an external preamp or phantom box for full-size mics, it really would be a Lectro SPDR killer, as someone else mentioned.


Regarding safety tracks:

Aaronj, I don't recall if you own one of the new recorders that do 32-bit float or not, but I can tell you that since I have owned my Zoom F6, I am now firmly in the 32-bit float camp. 

It isn't always easy to set conservative levels.  I often record record wide / unpredictable dynamic range music, and I am often performing and cannot monitor levels.  I often had safety tracks save my bacon on 24-bit recordings.  Not any more.  32-bit float truly does mean the set level "doesn't matter" as the input level is fixed (at least on the F6) and you are only adjusting post-ADC.  Some of my recordings have levels way above 0 dBFS, but I just bring it down in post with no loss.  There was much hemming and hawing over how this would work in practice (with some very relevant concerns raised), but for me the jury is out.  I'm never going back.  The only thing you need to be concerned with at all is if the input stage can handle the hottest signal your most sensitive mics are cranking out.

In other words, there is zero reason I can see to have something like the Track E record in anything but 32-bit FP.

[jerryfreak]

im sold on 32-bit as well, but more as a feature and not a game changer

theres no guarantee that the tentacle performs as admirably as the zoom or SD units

input noise and max input level is still a thing and sources need to be somewhat matched to the input

[aaronji]

^^ For loud shows, I just set the gain on the recorder so that the output of the mics at max SPL (the 1% THD point, actually) will be just below the recorder's overload point. Then I put the limiter on for a little added safety. I have recorded disturbingly loud shows that way with no issue. For quieter shows, I up the gain but try to err on the conservative side. Frankly, I am pretty happy with my recorder and really don't see the need to change for the sake of 32-bit, even with SD's patented (and pretty clever, if I read the application correctly) method. By the time I feel the need to upgrade, they will probably all have this feature...

[voltronic]

^^ For loud shows, I just set the gain on the recorder so that the output of the mics at max SPL (the 1% THD point, actually) will be just below the recorder's overload point. Then I put the limiter on for a little added safety. I have recorded disturbingly loud shows that way with no issue. For quieter shows, I up the gain but try to err on the conservative side. Frankly, I am pretty happy with my recorder and really don't see the need to change for the sake of 32-bit, even with SD's patented (and pretty clever, if I read the application correctly) method. By the time I feel the need to upgrade, they will probably all have this feature...

I probably wouldn't have changed anything if I was in your situation either.  I was not saying you should make a switch; just how this new setup has made life much easier for me due to the nature of my recordings.  We all do what works best for us, right?

[jerryfreak]

BTW NAB is cancelled i wonder if they will still launch in April?

[tim in jersey]

Two channels.
Start/stop button.
(are level controls even needed?)

Third buttom. HOLD. So it jusn't get knocked off...

[jerryfreak]

this site listing 3/31 release date, prob a pre-order as B&H has 'early june' listed for availability. Gotham says 'end of may'

https://www.pinknoise-systems.co.uk/tentacle-sync-track-e-pocket-sized-audio-recorder.html

[voltronic]

this site listing 3/31 release date, prob a pre-order as B&H has 'early june' listed for availability. Gotham says 'end of may'

https://www.pinknoise-systems.co.uk/tentacle-sync-track-e-pocket-sized-audio-recorder.html

I think the only real answer is: Whenever worldwide manufacturing and transportation is back to running at close to normal so we can source the parts we need to build things.

[aaronji]

We all do what works best for us, right?

That's the way I look at it!

In general, given the wide dynamic range of some modern recorders, like the first generation MixPres or the F8, it is pretty easy to record the full scope of pretty much any live music event (even a highly dynamic symphony played by a full orchestra in a live setting is usually quoted as around 70 - 80 dB, call it 90 if you assume a preternaturally quiet audience and a super loud performance) with 20 or 30 dB of headroom available in 24-bit. So it comes down to what you are comfortable with. Personally, I view at is being kind of like an automatic versus a standard transmission. The automatic is easier and you don't ever have to worry about grinding gears or stalling, but it is not as much fun as driving a standard and (perhaps) you might be able to get a little bit better performance from the standard if you do it right...

[jerryfreak]

yeah, for our purposes, literally any modern converter from this century with over 110 dB dynamic range is more than adequate with a little forethought. its more about understanding your gear (mic sensitivity, preamp output levels, etc) and matching it at least a little bit

32bit is a good feature but not really a panacea. may save the odd take for someone who seriously messes up, but our understanding and control of out inputs is generally within a certain range

auto vs manual tranny is a great analogy!

We all do what works best for us, right?

That's the way I look at it!

In general, given the wide dynamic range of some modern recorders, like the first generation MixPres or the F8, it is pretty easy to record the full scope of pretty much any live music event (even a highly dynamic symphony played by a full orchestra in a live setting is usually quoted as around 70 - 80 dB, call it 90 if you assume a preternaturally quiet audience and a super loud performance) with 20 or 30 dB of headroom available in 24-bit. So it comes down to what you are comfortable with. Personally, I view at is being kind of like an automatic versus a standard transmission. The automatic is easier and you don't ever have to worry about grinding gears or stalling, but it is not as much fun as driving a standard and (perhaps) you might be able to get a little bit better performance from the standard if you do it right...