Topic: Digital recorder wishlist wanted

[soundpro]

Hello:

The engineers at Tascam in Japan have contacted us through their local rep and they are looking for recommendations for new products or tweaks to existing products. I thought I would run it by you folks before I answer them......

Suggestions?

Chris Carfagno
The Sound Professionals

[capnhook]

rca spdif in     

[OFOTD]

rca spdif in

+1  and preferably on their handheld digital recorders

[sunjan]

+1, QFT. RCA digi-in is the single most important feature that the bulk of the recorders on the market are missing.

Other features:
Mic in with 9V PIP (enough current to power Church Audio mics or similar).
Line in with as low self-noise as R-09HR and M10 
30 sec pre-recording just like the Iriver (IIUC some of the Tascams do have pre-recording, but not all models, and not as long)
Customizable GUI would be nice to have (Rockbox REP style) with rolling histogram, level bar scale, font size etc.
Less plasticky (not crucial though)

This said, I haven't owned any Tascams myself, just had them demoed for me at trade fairs.

Thanks a lot for doing the legwork, Chris - much appreciated. I'm positively surprised that Tascam bothered and figured out a way to tap the TSKB!

[pafnuzzi]

Same opinion

9V mic in plug in power combined with as good preamp as r-09hr or pcm m10 for this I could live without internal mics so the piece can become smaller

[Jhurlbs81]

RCA SPDIF

[H₂O]

- Balanced inputs on hand helds (i.e. Korg MR-1)
- Fix 8GB Lockup issue on the HD-P2
- Large Touch screen display (similar to iPhone) - with lock
- Longer battery life (i.e. Sony PCM-M10 - 24hours record time on single pair of AA's - 24 hours is over kill but at least 12 hours on 2 AA's)
- Ability to record in DSD formats
- +60v/+7v unbalanced mic level input (i.e. to run Schoeps active KCY directly into it - i.e. VMS 02ib/Lemosax/etc) 
- NO BUILT IN MICS!
 

[page]

I'll echo a lot of the comments here, and even order mine in priority/desire.

- STABLE!!! (One of the great reasons the MT2496 and MT2 are disliked)
- SPDIF in (bit accurate & syncs to the clock from the external source)
- No noise/drop outs when adjusting volume/settings.
- standard AA/AAA batteries
- able to handle a hot signal on line in (to the order of +24dbu)
- Gapless/sample accurate new file splits.
- a Hold/Lock feature (includes volume adjustments).
- True 9V PIP
- balanced in

I don't care about built-on mics, ship a seperate one that plugs in (like a T-mic that just plugs into the deck like small bug antenna) if they like. In short, take a Sony PCM-M10 and add the SPDIF and I'd compromise. I'd personally pay up to the area of $450 for a unit that had all of the above.

[Belexes]

I don't care about built-on mics

+1

I know we are not likely the target market for these, musicians likely are, so that's why the built-in mics are there...just make one model without them.

[page]

I don't care about built-on mics

+1

I know we are not likely the target market for these, musicians likely are, so that's why the built-in mics are there...just make one model without them.

Or ship all of the recorders with the following, it would probably be just as good in the grand scheme of things:



Oh, I almost forgot, flash card based and not hard drive based. 

[fmaderjr]

Mic in with 9V PIP (enough current to power Church Audio mics or similar).

This would be a big plus and I believe a true 5 volt rating would be enough for our purposes in most cases. I know it's enough for the Church mics and even the DPA 4060 series.

I have no desire to pay a lot extra for a spdf because I don't plan to use a pre with a built in ADC. I'd just like a good ADC converter in the recorder. But obviously the recorders going for say $500+ or so are going to need a spdf or they will lose a lot of their potential market.

[sunjan]

- a Hold/Lock feature (includes volume adjustments).

To emphazise this, make sure the hold switch isn't joint with the on/off switch (like the design flaw of the DR-08 which goes "Hold>On>Off". After switching from "hold" to "on", there's a risk that you overshoot and switch the unit off!)

I don't know if the Tascam units of today have this, but Safety AGC (à la rockbox) would also be nice.

Talking about which features to get rid of:
 - I don't need USB transfer, strictly speaking. If you can upgrade the firmware via the flash card, that's good enough for me.
 - I don't need to charge the batteries while inside the unit. I'd use my external charger anyway. It would still nice to have a DC jack, for external powering, but you could eliminate any built-in charging ciruit.

[page]

Talking about which features to get rid of:
 - I don't need USB transfer, strictly speaking. If you can upgrade the firmware via the flash card, that's good enough for me.
 - I don't need to charge the batteries while inside the unit. I'd use my external charger anyway. It would still nice to have a DC jack, for external powering, but you could eliminate any built-in charging ciruit.

Ditto on both, I don't need a USB slot with removable media, and I don't need a charging circuit with AA batteries (and I'll echo the remark of a DC power jack to use external power would be nice).

[it-goes-to-eleven]

Better a/d and line-in performance when used with external pre-amps.  Closer to what the 722 provides.  That includes audio quality, lower noise levels, and better handling of hot signals (+25 DbFS).

As far as digi in goes.. I really don't care much because there aren't many good portable a/d's available.   But more alternatives to the mt are needed.

[kirk97132]

Make standard the ability to accept AND pass through various clocking hook ups regardless of the audio input to the deck.  IE the same feature that the HD-P2 has.  So you can sync clocks while using a separate audio input.

[dallman]

- a Hold/Lock feature (includes volume adjustments).

I have to disagree here. While on the (2) MT units this is necessary due to the touch controls, on the Tascam's (I have the DR-07 and HD P-2) as well as on the Olympus LS-10, there is absolutely no need to lock the record level. I can make adjustments without unlocking while a show is in process. I have never had a problem with the recording level moving or changing on it's own. I often keep the DR-07 or LS2 in my pocket, and have no fear of the controls changing. They make the volume adjustment control nice and tight,and that is a huge plus to me

[page]

- a Hold/Lock feature (includes volume adjustments).

I have to disagree here. While on the (2) MT units this is necessary due to the touch controls, on the Tascam's (I have the DR-07 and HD P-2) as well as on the Olympus LS-10, there is absolutely no need to lock the record level. I can make adjustments without unlocking while a show is in process. I have never had a problem with the recording level moving or changing on it's own. I often keep the DR-07 or LS2 in my pocket, and have no fear of the controls changing. They make the volume adjustment control nice and tight,and that is a huge plus to me

The 722 has the best of both worlds since the volume knob is a recessable knob (and is also almost 6 times as expensive...). If I want to adjust volume without unlocking the machine, I can, if I want to lock the volume also, I can. If I only get one choice though, I'd rather unlock the machine to adjust volume then the alternative of leaving the volume unlocked all the time.

Better a/d and line-in performance when used with external pre-amps.  Closer to what the 722 provides.  That includes audio quality, lower noise levels, and better handling of hot signals (+25 DbFS).

As far as digi in goes.. I really don't care much because there aren't many good portable a/d's available.   But more alternatives to the mt are needed.

Agreed. My request for digi-in is spured not through the availibility of good portable A/Ds, but more of a lazy patching or alternative to the MT2.

How many weeks have you been deleting posts to stay ultra-evil? I just noticed that earlier.

[H₂O]

One other and I know this is a long shot but:
- OpenSource Firmware

[live2496]

This is something that I wish we could have done with PDAudio, but the ability to slave clocking from another source on a handheld recorder.

That way you could word clock two handhelds to the same source. Handy for doing 4 channel stuff.

----

A way to calibrate levels. Precise and course control of those levels via software. Like for matching capsules.

----

A way to turn off the screen while recording. To keep noise out of the input sources and to save power.

----

[earmonger]

For stealth, a backlit remote with Record button, Record indicator light, level readings, rec-level control and track marking. Basically minidisc's RM-MC40ELK with a much better display and a record button, without adding noise when backlight goes on. 

Also, a non-bulky case or skin that allows you to reach all controls and view the display.

And true mono recording for those solitary moments.

Oh, and a list price of $99.99.

[udovdh]

R09 or R09HR with 9V PIP would be very interesting. (also for `line` instead of `mic`)
I'd pay for even cleaner line input.
Size matters.
Digi in not so for me.
Battery life is important.

[Colin Liston]

Digital Input!  RCA SPDIF.

[sunjan]

Size matters.
Digi in not so for me.

I see this thread diverging into two different camps.
One set of specs suitable for stealth gear, and a different for open (esp. multitrack).

Personally, for stealth gear, I see no use for word clock sync and similar (heck, I hardly know what it's good for in the first place). My understanding is that this comes to use when syncing more than two tracks, which hardly ever would be the case when stealthing.

If I missed the point here, and word clock sync is good for me as a stealther, by all means "sell it in" to me! 

[Gutbucket]

I see this thread diverging into two different camps.
One set of specs suitable for stealth gear, and a different for open (esp. multitrack).
..My understanding is that this comes to use when syncing more than two tracks, which hardly ever would be the case when stealthing.

I'm in the hardly ever camp I guess. 

I'd really like a simple, high-quality, palm-sized six track for surround recording.  Similar to the little 4 channel Zoom, but higher quality, two more tracks and mic/line inputs for all 6.

R-09 sized
3 stereo mini-jack inputs
5+VDC plug in power
SDHC non-proprietary memory
Standard NiMh batteries or disposables
Hold lock
24/48 file capability with actual 20 bit performance (skip the 96-192kHz marketing BS)

Bonus features-
Menu buried individual gain adjustment for each channel for level matching & calibration
Wired remote with Rec, Stop, Split, Meter & Global gain control

I'm ready to order Chris, thanks!

[twatts (pants are so over-rated...)]

Give me a DR-100 without the built in mics, and add a SPDIF RCA input. 

And/or fix the HD-P2 8gb limit.

Terry

[Fatah Ruark (aka MIKE B)]

I want my complete system to be as small as possible (and made of as little metal as possible).

Ideally I'd like the option to have REAL 48V phantom...but I'd be satisfied with anything about the size of the DPA MMA6000 (and sounds as nice) with a recorder built into it.

DPA 406x > Recorder would be great.

"Any 48V mic" > Recorder would be perfect.

[udovdh]

I see this thread diverging into two different camps.
One set of specs suitable for stealth gear, and a different for open (esp. multitrack).
..My understanding is that this comes to use when syncing more than two tracks, which hardly ever would be the case when stealthing.

I'm in the hardly ever camp I guess. 

I'd really like a simple, high-quality, palm-sized six track for surround recording.  Similar to the little 4 channel Zoom, but higher quality, two more tracks and mic/line inputs for all 6.

R-09 sized
3 stereo mini-jack inputs
5+VDC plug in power
SDHC non-proprietary memory
Standard NiMh batteries or disposables
Hold lock
24/48 file capability with actual 20 bit performance (skip the 96-192kHz marketing BS)

Bonus features-
Menu buried individual gain adjustment for each channel for level matching & calibration
Wired remote with Rec, Stop, Split, Meter & Global gain control

Sounds like a reasonable compromise.
Maybe add 9V PIP (withe LINE sensitivity) and 88KHz sampling.
Seamless 2GB WAVs or other usable format.
No internal mics to save on size (can be added cheaply externally).
And/Or max out at R09HR size.

[marvin100]

I'd like Tascame to make me a Sound Devices 788t, please.

[Will_S]

Take a Tascam DR100, lose the internal mics, add useful internal battery capacity (something like the RC battery compartment with adapter sled for AAs as used in the Fostex FR2LE), and add a stereo minijack line in and 4 track recording.

[stevetoney]

In no particular order of priority...

1) SPDIF Input

2) XLR Inputs with a 3 position switch; 48V Phantom, No Phantom, and Line In.  Allows using powered and unpowered mics, while also allows an external preamp to use the XLR inputs as line-ins while bypassing the recorder preamp, but not the ADC.

3) Capability to be powered from variable input voltage source from a cable with a locking, readily available, NON-PROPRIETARY input jack.  Unit should be polarity protected and/or capable of operating with reversed polarity.

4) Very low current draw allowing maximum field run-times.

5) Flash-memory based system without limitation to memory card size.  Functional with maximum variety of card manufacturers, speeds, sizes, etc.

6) High gain headphone amp with user selectable monitoring options, including input selection switching a/b, a/a, or b/b monitoring, source delay (time offsetting monitored sound from real time sound to enable the user to better hear the monitored sound).

7) Menu selectable, rapidly changeable menu presets.

8. User selectable gain range (low range and high range, at min) on the level meter...so that when levels are lower the user can switch the scale and still have good resolution on the level meters.

9) Optional capability to power from higher capacity RC battery's via Tamiya connector.

[Idle Wind]

RCA SPDIF In.  Seems to be the #1 request. 

maybe SPDIF out too, for Daisy Chaining?  (ie, like the old days with a buncha D8s daisy chained with Oade active cables).

9V PIP would be great for small mics.  I'm thinking this to be a small handheld unit, so 48V XLR etc. would be overkill (those folks would just use their own preamp and a/d and go digi in anyway).

Open Source Firmware, or Flash Upgradable, or just ask the Rockbox folks what they need to port Rockbox over......

Plus a Jedi stealth mode for sneaking it in, and maybe a Wook repelling force field......or maybe just something that won't trigger your standard metal detector.....

[ballerusk]

I'm not half as knowlegable as others here so my wish list is short and simple:

Small small small .. very small
No internal mics
No need for an AC-adapter, let it use batteries (AA or AAA)
Mini-XLR inputs perhaps? Or at least digital-in.

I'm sure there's much more, but I'll let the pro's on the forum handle this.

[Gutbucket]

Currious about why both a super small format and a digital input are important to many who have posted..

Using a digital input implies using extra equipment as well such as external preamps/AD-converters.  In that case a 'small as possible' form factor would seem less important to my thinking.  Sure, less size and weight is good, but need it really be as small as possible?  Throw in the desire for XLR connnectors and phantom power requirements and it becomes difficult to fit it all in a very small device.

I see two, seperate classes of device:
1) Slightly larger recorders with all the goodies- XLR's, phantom power, SPDIF, sync.
2) A small pocket recoder which assumes the elimination of all other boxes, but still supports external mics. (that would seem to imply including XLRs and phantom, but that makes the thing much bigger, especially so with multi-channel support, so sufficient PIP is a decent compromise for pocketability).

That is pretty much how the market has segmented already.  Within that framework, a manufacturer can play the low price game or the feature game (or both).   Multichannel recording capability in a qualilty handheld is one feature I've yet to see exploited and would love to see.  Seems like an opportunity to me.  I suppose digital input is scarce in handhelds too, but just seems less compelling to me.

[markrsmith]

No internal mics, we all have our own.  I've been looking for one witout them, so other upgrades are included in the price and not the internal mics.  We all have our own mics anyways...

[kirk97132]

Isn't this kinda putting the cart before the horse?  I mean they just released a bunch of new stuff and now they want input on what features it should have

[Gutbucket]

...they just released a bunch of new stuff and now they want input on what features it the next product in development should have

FTFY

time moves on.

[sunjan]

Yup. Product cycle development for this stuff is probably at least 12-18 months or so. So you'll have to realize that the DR-680, DR-2d etc started their life on the drawing board that long ago.

[Massive Dynamic]

I'll echo a lot of the comments here, and even order mine in priority/desire.

- STABLE!!! (One of the great reasons the MT2496 and MT2 are disliked)
- SPDIF in (bit accurate & syncs to the clock from the external source)

<snip>

In short, take a Sony PCM-M10 and add the SPDIF and I'd compromise. I'd personally pay up to the area of $450 for a unit that had all of the above.

x2

Currious about why both a super small format and a digital input are important to many who have posted..

It's about adding versatility. A stand-alone recorder that can also do transfers, or be the bit-bucket when running open, seems to be in high demand here. It's also about price. Why do I have to spend $600 for a D50 to get SPDIF in versus $275 for the M10 without? Seems like someone could make a solid unit with 24-bit SPDIF in to compete with the MT2.

[tardis71]

Half the size of the M10
No frills....No mics, playback mini speaker etc..
16gb internal memory
Killer clean preamp
9v mic power
digi in/outs
long life on AAs
Remote with noiseless backlight full controls rec levels etc...

[hoserama]

I see this thread diverging into two different camps.
One set of specs suitable for stealth gear, and a different for open (esp. multitrack).
..My understanding is that this comes to use when syncing more than two tracks, which hardly ever would be the case when stealthing.

I'm in the hardly ever camp I guess. 

I'd really like a simple, high-quality, palm-sized six track for surround recording.  Similar to the little 4 channel Zoom, but higher quality, two more tracks and mic/line inputs for all 6.

R-09 sized
3 stereo mini-jack inputs
5+VDC plug in power
SDHC non-proprietary memory
Standard NiMh batteries or disposables
Hold lock
24/48 file capability with actual 20 bit performance (skip the 96-192kHz marketing BS)

Bonus features-
Menu buried individual gain adjustment for each channel for level matching & calibration
Wired remote with Rec, Stop, Split, Meter & Global gain control

I'm ready to order Chris, thanks!

]

This. Right here. Cosign a million times.

[dallman]

Chris,

Because there are many different items people are hot and cold about, at some point I'd love to hear why some of these requested items are attainable or not attainable. Knowing what can and cannot be done (reasonably and  or affordably) would help.

Some of the requested items seem very possible, and some not.

I think we have 3 camps out there:
1. The bigger non stealth rigs lots of bells and whistles, multitrack or not.
2. The smaller stealth rigs, portable and geared toward an easy simple high quality recording.
3. A very portable all in one unit. More of a combination of as many bells and whistles as possible with as little size sacrifice as possible.

[spyder9]

RCA SPDIF

Ditto.
 
Sounds like Tascam is ready to upgrade the DR-100.  (1) Add SPDIF.  (2) 4 AA batteries with longer recording time.  (3) Drop the noise floor to Sony level.  (4)  Match Line-In sound to Mic-In.  Mic-In always sounds better for some reason.   

[OOK]

ok here we go................IMO

this is easy...

and R9HR with the addition of a RCA or 1/8" digital input....and double the batterylife..
a nice extra would be Mic in would provide menu drivin adjustable plugin power from 5volt to 9volt...

and noise performance levels of an sd box....

OOK

[kleiner Rainer]

howdy,

I would like the 2010 equivalent of the Sony TCD-5M: sturdy diecast frame, "D"-cells for long autonomy, simple user interface (coaxial pot for level setting, Sfernice conductive plastic preferred for long life), water resistant for outdoor use, analog backlit meters with LED peak indicators (or LED equivalent, see Sound Devices 552). The controls should be usable with gloves for people like me who record outdoors at -10 degrees. This requires that the knobs and buttons are spaced a few cm apart.

Those are my requirements, and I understand that my dream machine would set me back at least 1000$. But I would pay that sum for a good recorder (btw what is the price of the TCD-5M in 2010 Dollars or Euros?)

Greetings, Rainer

[sunjan]

4 AA batteries with longer recording time.

I'm in the stealth camp, and maybe a minority here, but I see no advantage having a huge internal AA battery bay.
Also, consider that AA batteries are NiMH at best, which has a lower energy density than rechargeble flat Li-Ion/Li-poly cells.
As long as the battery stick is field-removable, I see no disadvantages with semi-proprietary flat lithium cells. They are smaller and last longer  - compared with the same cubic footprint of AA cells.
You can find generic third party batteries and chargers for pretty much every brand on the market. As long as Tascam would stay with any reasonably established form factor, you can get backup batteries for a few bucks:
http://photography.shop.ebay.com/Cameras-Photo-/625/i.html?_catref=1&_dmd=1&_fln=1&_ipg=50&_sop=12&_ssn=buyitnowhk&_trksid=p3911.c0.m282

I've heard the arguments that AA can be found anywhere if you get stuck, and it's easier to stock up with AAs for a festival, but I'm not buying that as an argument to have an internal AA bay.

I've ran maybe 100 shows with my Iriver, and never once had a battery failure. I just bought a top of the line Cameron-Sino flat cell on ebay, and make sure I've charged it well in advance. This gives me 8-12hrs recording time, which is more than enough for me.

I If I was paranoid, I'd buy an external battery pack with replaceable AA cells and plug it into the DC jack. That way you're always prepared, without sacrificing valuable real estate in the main recorder unit.

Keep stealth stealth - and small! :-)

[capnhook]

I If I was paranoid, I'd buy an external battery pack with replaceable AA cells and plug it into the DC jack. That way you're always prepared, without sacrificing valuable real estate in the main recorder unit.

I'm not so much "paranoid" as I am "cheap"......how 'bout manufacturers supplying that external AA battery pack??   

[spyder9]

Thanks for the input. but I'm talking about a true P48 unit, not the usual handheld.  Take another look at the DR-100 and you'll know what I mean.    

4 AA batteries with longer recording time.

I'm in the stealth camp, and maybe a minority here, but I see no advantage having a huge internal AA battery bay.
Also, consider that AA batteries are NiMH at best, which has a lower energy density than rechargeble flat Li-Ion/Li-poly cells.
As long as the battery stick is field-removable, I see no disadvantages with semi-proprietary flat lithium cells. They are smaller and last longer  - compared with the same cubic footprint of AA cells.
You can find generic third party batteries and chargers for pretty much every brand on the market. As long as Tascam would stay with any reasonably established form factor, you can get backup batteries for a few bucks:
http://photography.shop.ebay.com/Cameras-Photo-/625/i.html?_catref=1&_dmd=1&_fln=1&_ipg=50&_sop=12&_ssn=buyitnowhk&_trksid=p3911.c0.m282

I've heard the arguments that AA can be found anywhere if you get stuck, and it's easier to stock up with AAs for a festival, but I'm not buying that as an argument to have an internal AA bay.

I've ran maybe 100 shows with my Iriver, and never once had a battery failure. I just bought a top of the line Cameron-Sino flat cell on ebay, and make sure I've charged it well in advance. This gives me 8-12hrs recording time, which is more than enough for me.

I If I was paranoid, I'd buy an external battery pack with replaceable AA cells and plug it into the DC jack. That way you're always prepared, without sacrificing valuable real estate in the main recorder unit.

Keep stealth stealth - and small! :-)

[sunjan]

Thanks for the input. but I'm talking about a true P48 unit, not the usual handheld.  Take another look at the DR-100 and you'll know what I mean.    

Sorry, I understand we're talking about two different beasts here. For open gear, I concede with spyder that AA cells are more versatile.

[marvin100]

My dream recorder would be the Sound Devices 7xx line without timecode (& with the corresponding price/size cut)

[spcyrfc]

the sony D50 with six channels of input.  similar to what illconditioned said.  3 1/8'' in jacks to make 6 channels.  gain for each channel or at least each set of channels.  solid build. 

[RTD]

for me most important: extremly short booting time, not as the crappy microtracks with around 20 seconds. Maximum should be 2-3 sec.

[Popmarter]

A REMOTE with LEVELS! Like the Iriver/Rockboxed remote!! Excellent for stealthing

[Gutbucket]

A REMOTE with LEVELS! Like the Iriver/Rockboxed remote!! Excellent for stealthing

& gain control.

[Gutbucket]

That got me thinking about an idea I had long ago..

A setting to specify and maintain any desired headroom for automatic and transparent 'over' protection without using a traditional limiter or by writing two redundant files recorded with different gains-

Instead, I propose a feature that automatically lowers gain by a set, user-defined amount anytime the input level crosses a user-defined threshold and notes each occurrence in a simple CUE file with the same name as the WAV file.  After recording, the CUE file could then be used to specify inverse gain changes at the appropriate points.  The gain reduction applied could either be held until a new file is started (an effectively infinite 'release time' in compressor/limiter terms) or in a more advanced implementation, a release time could be specified and that event also noted in the CUE file.

Example: Say I set levels so that the program peaks I expect reach -10dBfs.  Say I also turn on the over protection feature and set the threshold described above to -6dBfs, specify a gain reduction of -3dB for any peak event that crosses that threshold, and specify a release time of 'hold until start of next file or manual reset'.   The recorder then acts normally for all expected program peaks of less than -10dBfs and also for any program peaks of up to -6dbfs.  But if an unexpected event peaks at -2dBfs, over protection automatically reduces my gain setting by -3dB for the remainder of the recording and notes the exact time this occurred in the CUE file.  Effective headroom is then increased to 13dB for any following events.  Any following peaks higher than -6dB will again kick in over protection and further reduce gain  by 3dB increments, each occurrence noted in the CUE file.  The gain will rapidly be adjusted to a setting better suited the program material and the end result after re-adjusting the levels of the file afterwards using the CUE file entries will be completely free of any traditional limiter or compression effects.

A really large initial peak of more than 10dB (or subsequent peaks of increasingly higher +3db increments) will still cause a single, brief over, but over protection immediately kicks in and reduces gain each time, so that the gain is rapidly and automatically adjusted downwards to accommodate the unexpectedly high signal levels.

Such a feature would make balancing noise-floor against peak level simpler by providing peak protection without sonic drawbacks.  It could be invaluable for recording very low level or highly dynamic material the user is unfamiliar with.  I’ve recorded things with overly-conservative levels just to completely avoid the chance of distortion in unfamiliar circumstances and ended up with files that peak at -25dBfs and RMS values of much less.   This feature would have no sonic ill effects if it was left ‘on’ for every recording, regardless of if it was actually needed or not.

In addition, the CUE file could also easily note other events, such as user specified event markers, low battery voltage warnings, etc.

[it-goes-to-eleven]

I like the idea of a cue/hints file which allows session gain changes to be automatically unified in post.  It would be essential to sort out all the automated changes.   Rockbox has a fairly refined auto gain feature (though I haven't used rockbox since it was introduced). Being open source, just about anything is possible.

One challenge with your suggested approach is how the gain is influenced by applause.  I don't worry much about applause clipping except when it happens during the music.  Then I cringe.

[Gutbucket]

Good point on applause, since it can be the loudest event during acoustic music.  I typically set gain for those situations to just accomodate the applause without clipping, often adjusting levels by clapping myself beforehand.  That amount of gain has proven to be sufficient for me with even very low level sources without introducing noisefloor problems durring the music.  The unclipped applause sounds better too, even if I need to reduce it's level later in comparison to the music.

I have had occastional problems going the other way though.. setting levels so they just accomodate expected applause at acoustic concerts, then finding the event way over amplified by an unexpected FOH system, a much louder artist, etc.

The CUE recording system could easily record, and later be used to even out, all gain changes made during recording, including any non-automatic ones made by the operator.  The CUE file could be read and used manually, or could easily drive an automatic level adjustment envelope plugin.  It could also be used like a typical compressor or limiter wby setting a non-infinite release time, but one that was totally reversible or tweakable after recording if desired. Automated with a plugin, large numbers of events could be handled easily, with provisions to ignore sections the user designates (like applause) or to restore them by less than they were reduced initally, acting more like a standard limiter or compressor.


[edit- I've never used rockbox, but I've heard about the auto gain feature.  Seems like a good idea. This would be basically an easily reversible extension of that in it's most simple sense, with teh potential of doing much more]