@@curtisjudd It's neat feature. I'm getting a 0.465 second delay from the actual real-time sound and that from the phone. This is not ideal, but for monitoring potential problems with mic placements etc it's fine. There's even an 'earpiece' setting, where by you can raise the phone to your ear, and it patches the audio through to there, handy if you don't have your wireless earbuds or headphones to hand (which is called the 'loudspeaker' setting, as if headphones are not connected it's patched through to the phone speaker).
@@juliansimmons7700 Thanks for sharing the results! I suspected that there would be a lot of latency and that's why most similar apps don't support this. That latency can be quite distracting if you're close enough to the talent to hear them in real live and the monitor at the same time. But I agree, helpful for at least knowing whether there's a clothing rustle or other issue. 👍
I have never used timecode before, but thanks to what I learned from these nice videos by Curtis I have just received this week one of the Tentacle recorders and two of their sync devices. I just completed my first test today running their sync devices into two Fuji cameras while recording also with their handy little lavalier recorder described in this video. Also, at the same time that I used a Tentacle Sync device in the X-T3, I could use a Deity V-Mic D3 Pro and override the Tentacle Sync's built-in mic; I did this with Tentacle's little Y-adapter cable. Everything synced up nicely and I was able to open the package in Premiere without issue. The quality of the audio is certainly fine for someone like me, but the main event for me was learning timecode and the Tentacle software, and I was very pleased not to lose the ability to plug a decent mic into the camera. This was a huge step - thanks so much for the lessons. - Dave
This is great for budget oriented youtubers/filmmakers. They can now BOOM their Video Mic Pro Plus mics straight into this recorder, and not worry about wireless transmission issues.
@@OnDirt No, if the microphone needs phantom power, this will not work. You'd need a separate power injector but those are usually pretty big and heavy, sort of defeating the purpose.
Gerald Undone evidently won. 😀 But we sometimes have different perspectives so I hope you'll still find my late review helpful. He is more of a camera guy and I'm more of an audio guy, after all. 😉
The Lectrosonics single channel recorder does not have a high quality time code clock, and when synced with a Tentacle Sync can drift ...but it is expensive. The new stereo Lectrosonics recorder from the specs looks like it has a high accuracy clock, so presumably no drift issues...but is very expensive. This new product from Tentacle based on your evaluation is a much more attractive product than the Lectrosonics for a reasonable price assuming it has the Tentacle Sync high accuracy time clock technology, especially considering the audio recording level features you describe. Thanks for posting your detailed review.
Think this be nice combined with additional wireless system to the audio out of it just to monitor the sound for any issues. For example a wireless go on the headphone out of the Track E and then just use that wireless for just monitoring.
Thank you very much, Mr. Judd, for Your fantastic Production Sound tutorials! Currently, I own a pair of Tentacle Timecode boxes. Therefore, I am seriously considering purchasing these Tentacle recording boxes as well. However, I already own a set of Sennheiser G4 wireless packs, yet as you mentioned in the video, working as a "ONE MAN BAND" can be exhausting, and usually, sometimes, technically, always gets sacrificed.
Really enjoy your videos. I am heading to Mexico soon and I am taking a Nikon Z6 and a Mixpre3 and have 2 tentacle sync E units. I am using Rode II wireless mics. The Rode receiver is plugged into the Mic 1 port on the Mixpre3. The tentacle sync are synced with each other using the app on my phone. I also have an atomos Ninja V on top of my camera. The first tentacle sync E is plugged into the aux 1 output on the Mixpre3. The second tentacle sync E is plugged into the Mic port on the Nikon Z6 The HDMI port is conected from the Z6 to the Atomos Ninja V. After I put the Audio and video into Resolve Media I then tell the video to sync to the Audio and then I place the files on the time line and tell resolve to sync by time code. This workflow works. I tried to plug the second tecnacle sync E into the Atomos mic connection and followed the same process and it's not synced it's off. Could it be because of a delay between the Camera HDMI and the Atomos? Also played with making the Mixpre3 the master but still delays. Just trying to figure out why using the MixPre3 as the master or feeding timecode into the Atomos are not synced ?
With multi mic wireless systems you also run into managing all the receivers - both for physical space in your bag and cables and batteries! With the Track E, all that goes away. :)
Gotta agree with others here. I am super excited to see a comparison between this and the Zoom F2/F2-BT. Bonus points if you can get the blue ultrasync to test with the F2-BT!
F2BT is on order. That Ultrasync Blue is sort of a very niche thing - it only works with mobile device cameras. It doesn't really fit my workflow but probably does for those who regularly shoot with mobile phones.
@@curtisjudd as i understand it, it transmits to the sync attachment of the atomos ninja V as well. So there is growing use case for it. But beyond that, it transmits a radio frequency as well, that you can pair with other ultrasync devices to feed timecode. This would be great, but then once you get all of that, you have extra stuff to worry about and you've spent just as much as you would have had you done twp track e's and a sync e! If that makes sense. It's silly. And I'm not sure why zoom likes the ultrasync blue. If you sync your f2-bt to your f6, and then use your f6 to tc-out into your camera (provided your cam has that function), then it makes sense. But it feels like extra steps you shouldn't have to go through for functionality they could have integrated in easier.
Thank you for this and all of your great videos. As other's have also said, I love your little summary section in the beginning of your videos. I also think it's also something that could be potentially improved to really shine.
@@curtisjudd The summary is perfect. The last thing it needs is graphics, music, introductions, animations or any other sort of popular "improvements".
Show us how to do the moleskin or gaffer-tape hacks when it comes to lav noise isolation! Also, I am blown away you let the ladies go freestyle instead of reading from my man Arthur Doyle... (Curtis, you must be going rogue or continuing the No-Effort November... Oh, and I hope your holidays were great!)
Thanks Curtis, I’ll be getting this one or the Zoom F2 in the Future. I’ve bought the F1 and it might be the worst piece of equipment I’ve ever had. The F2 looks like it fixes most of the handling issues but I’ll be waiting for your review to buy anything in this space. So I’m hoping there will be an F2 video in the near future.
Thanks Spiel und Zeug. I have an F2BT on pre-order and plan to make a video covering it after it arrives. Lead times have been pretty long lately so I'm guessing it will not ship until January or February.
Change the lavalier included with the F1. The noise floor of the f1 recorder is lower than the track e visibly. With a good lavalier the f1 seems better to me.
Hi Chris, audio dork chiming in again. I would recommend purchasing lavaliere mics that terminate to the MicroDot connector, then buying a MicroDot-to-xxx adapter. "Why?" well, if you buy an expensive lav and want to resale it, you are not bound to a specific brand of wireless. I own 8 DPA 6060's...they are around $600 each ($750 w/ the Lectro MicroDot-to-TA5 adapter). If I ever want to sell them, I have a massive latitude to who I can sell to.
Nice corps jacket! 😎 It would be cool to have the ability to monitor/adjust via the app similar to Wingman. If it's not currently possible, I wouldn't mind the unit being a bit larger for that functionality.
Thanks Robert. You can adjust the gain and watch the meter on the app, just cannot monitor with headphones. I didn't know that Wingman sends an audio feed for monitoring?
@@robchado I believe it is the same - sends meter data in real-time but no audio, at least last I checked. That'd sure be a nice feature though I'm sure there'd be a bit of latency.
Any word friends? It’s been almost a year. You mentioned it in your video Curtis. Still no audio monitoring via app? Was it brought in with a firmware update?
The international version (non-US) version allows for live monitoring via the headphone jack. If you have a family or friend from a country with a Tentacle dealer outside of the USA, have them order for you and ship to their address. Then they ship the device to your USA address. Some dealers from outside the USA will also ship to your USA address. This is due to the Zaxcom patent in the USA.
I just got a pair of these and agree with everything in your review. I would add that the included lav looks (and performs) suspiciously like a Sennheiser ME2. I guess that would be consistent with the "made with love in Germany" marketing. EDIT: The similarity is to the original ME2, not to the ME2-II that you showed with the Sennheiser wireless system late in the video. I would guess that Sennheiser still has the plastic case for the original, and maybe they made a "custom" part for Tentacle with that?
Thanks Patrick. No idea on the origin of the included mic, but it seems a bit less bright vs the original ME2 to my ears? On the other hand, it has been a few years since I used an original ME2.
The Zoom F2 at $149.- or the F2-BT at $199.- will be very interesting competitors. No time code but less than half the price for the former for 32 bit float and a normal battery.
What I do for audio monitoring: I attach a small BT transmitter to the Audio out and connect Bluetooth headphones to the receiver. The audio quality is ok, it has a lag of about one second, but it does the job of controlling problems like dead battery, scratching clothes, radio interference etc. The rest does the recorder (currently a Zoom H1 in my case).
Curtis, Being a simple youtube creator, can i drop the 32bit recording from the recorder directly into Davinci Resolve and edit like other audio ? Or does the recording need reprocessing in some way for me to sync up with my camera video and audio ?
Hi Curtis, I guess the inability to monitor is somewhat offset by the post processing capabilities provided by 32 bit floating? Does this ‘talk’ to the AtomX SYNC module on the Atomos NINJA V? I use these and love them!
Hi Doug. Yes, I agree, somewhat offset. It doesn't solve the problem of being able to know if you have problems like clothing rustle, but it does solve the issue of setting the gain incorrectly. This is a stand-alone system and does not talk with the AtomX sync module or any of the Timecode Systems gear.
Very interesting. I am actually quite surprised you did not mention a direct competitor that these are meant to replace, the Tascam DR10L units. Would be great to see the sound quality difference between the two. Glad to know the battery is user replaceable, and knowing that, it would be nice, of course, having a bunch of rechargable AAA in the Tascam is far more convenient. Simply swap out the AAA battery before every session, and even if I am low, swap in a new one. Since I film outside, I wonder what that battery life would be in 40 degree weather. When it dies, for sure SOL. I do think the time stamp encoder could be AWESOME, especially for more than 1 unit such as doing interviews. How much is the one for the camera? Or available as kits? Also, does this one allow you to dual record? On the Tascam I can record at the level along with a backup track at -12 db. And btw, your hair is great. =)
@@curtisjudd Nobody needs to be perfect, your videos are good as they are. But I noticed that Gerald Undone avoided to mention The DR-10L also. Won't say you both are bought, but this is strange as the advantages of the Tascam are obvious, let the 32bit recording aside.
Hey, Curtis: sound quality compared to my Tascam dr 10? I love the freedom of not having to deal with interference and drop outs. I'm happy with my Tascam, just wondering about the sound quality. Thanks!
@@curtisjudd Just want to say thank you so much for all of your videos over these years. I went from not knowing how to use a shotgun microphone or why I even needed a separate recorder, to last month hitting 300k subscribers on my main channel. I still have so much to learn from your videos
Thanks again for nice and wisely neutral notes on a new product. Zoom came out with one too I saw. These dont do miracles but help in situations you cannot concentrate on audio controlling AND you need to do things in postproduction, so no help for streaming audio. The distortion issue I guess comes in hands when the mic cannot handle higher audio pressure right? Nice review! PS. You could use a "normal" 16/24 bit recording with a good lavalier and record to a phone or small dig.recorder too...? (Those we have around🤣)
Hi Curtis, love your show. Tell me, it's going to work with sony lavaliers from uwp? I in the market for those Sanken cos-11. All my wireless body packs are from sony. But I'm thinking a lot in a pair of track-e to go along with timecode. If I buy the Sanken for uwp would I be able to use on those track-e? Phisicaly they seems to fit.
Hi Lucas, unfortunately no. Sony is one of the few companies which use a different wiring scheme for their 3.5mm microphones. You would need to have the microphone re-terminated for Sennheiser 3.5mm to work with the Track E.
Great job on the video as usual! 9:25 is probably the biggest thing I'm reluctant about when dropping around $1500 (Track E + 4x sync E & mounts) on a full audio/timecode kit from them. It's too bad the Track E doesn't do stereo 32-bit recording. Having a dual head lapel would help limit the chance of shirt noise being a problem. Another negative I'm seeing is no easily replicable batteries. Price is relative, but I'd likely be using this stuff for a long time so the batteries are another thing holding me back (Edit, nice to see they will offer a battery replacement kit). I emailed Zoom about their new F2. That one also has a few drawbacks in recording. It can do 32-bit stereo, but only in 44khz and not 48khz (48khz in mono like this one is possible). Overall, the Tentacle sync stuff does seem like the best option to get a nicely integrated timecode based audio setup with cameras that don't officially support timecode, so I'm still thinking about it. Hopefully timecode stuff becomes even more mainstream so there are more options and lower prices.
Wait what! Zoom said F2 records stereo? I emailed them saying I assume F2 records only Mono and went on asking if I can use then two F2:s with two separate mics to create binaural recording and they said nothing about stereo recording, just that the levels would be different with two separate recorders. Damn, are you sure the stereo really worksin 44.1? Like for example with this mic pair store.lom.audio/sk/collections/microphones-accessories/products/mikrousi?variant=6174830002208
Btw when I emailed Tentacle Sync about my plans for binaural audio, part of their answer was like this: "By the way, we are already working on a stereo version but I can't promise when exactly we will release it next year."
Here is the exact text from the Zoom USA rep: "In terms of your question about 32 bit float recording, the F2 records in the following file formats: 44.1kHz/32-bit float, 48kHz/32-bit float Mono, BWF format supported."
I've got an E on order now for use at the shooting range. Should work great for that application up to the SPL limit of the mic. And I might add time code some time. Plus I can continue to use the Tascam DR-10L as a backup or at a different location. I also have a Hollyland wireless setup coming to replace the Rode Wireless Go. I lost a transmitter a few weeks ago and this looks like a good replacement plus two channel.
May sound like a dumb question, but I’m unfamiliar with processing 32bit files, and most searches only pull up bouncing options at 32bit. To utilize the ability to reduce clipping, would you need to have your overall session set to 32bit float (whether in audition / pro tools / etc)? I’m assuming to recognize the extra 8 bits it would need to be set globally to that prior to importing, otherwise it would truncate?
Thanks for an excellent video, Curtis. Perhaps you could consider doing a follow up on microphones and 32-bit float. I do field recording and sound effects. Clearly 32-bit float recorders handle clipping at the recorder level well, but they presumably move the limiting step to the microphone hardware. Do you have any advice, dB parameters and mic recommendations, especially for very loud and quiet sounds?
Hi DCPImages, thanks for the suggestion! For dialogue, the main purpose of this recorder, such considerations are not quite as critical as they are for sound effects. But the main factors will be the max SPL and dynamic range specifications and performance. That's especially tricky with lavalier microphones which generally don't do as well as larger microphones.
This recorder might be just what im looking for. Ive had issues with audio at times, using the cannon G7x, especially with dialogue and loud sounds clipping. Using the G7x as a blogging camera, its audio is okay to fair on average but it doesnt manage loud sounds well. For instance vlogging in a theme park where there are a lot of ambient sounds, dialogue and say, fireworks. Trying to clean all that up to a usable sound level in post is quite time consuming to say the least.
Awesome! Never understood what 32-bit float is, but now because of you I do. This is amazing. For how long has this been around? I would think everyone should record in 32-bit float, as long as your equipment can? I need to look more into this. Thank you! Subscribed.
I've heard that in app audio monitoring is now available for this product, at least in beta! Would love to see you do a run down of this if you ever get the chance.
Great review as always. While I really like the idea, not being able to monitor strikes me as asking for trouble. Getting back to the office and discovering some hair or clothing or other noise that could have been prevented would be such a drag.
That is the huge trade off with body pack recorders across the board. You don’t have to worry about wireless dropouts, but clothing noise and any other interference is something you cannot catch while recording.
Sound is high the mountain for a modest budget films, and I am no exemption. Sony PCM D10 is good enough to use with boom mics for indie filmmakers? or Tentacle Track E will do the job!! (I have none from both of it. So you can suggest which will do the job including dialogue, environment and foley ;). Also looking forward to enroll in your sound courses after Xmas.
Hi Jayesh, I would think that the Sony PCM D10 would be more versatile because it has XLR inputs and in-built stereo microphones for recording ambient sound. I haven't used it so I don't have a review on it, but between this and the D10, I'd think the D10 is the more versatile filmmaking tool.
Excellent video, as always, thank you! I'd say, there's not much point in getting the US version. Pairing the track E with something like a Rode wireless go, or cheaper competing products than can send two signals to one receiver is a great solution. Also, the noise with the included tentacle microphone is very substantial! It would be great to have quick test of the noise levels between the included mic and the Sanken cos11d. Even better, how would a similar comparison compare to the preamps of Mixpre ii series ?
Hi Curtis, thanks for another professional and informative video review. I shoout with a Blackmagic Pocket 6K camera. If I wanted to use this and have timecode sync with my camera am I right in thinking I would need a Tentacle Sync E attached to my camera. The Track E would then be jammed to that device's timecode before being attached to my talent (either by wire or Bluetooth). Thanks for your help :-)
Thanks for great review. Included mic sounds a bit muffled, but its still OK as being included mic. I'd definitely use DPA with it, which I wouldn't be able to use with Zoom F2 because It doesnt have 4,5V phantom power for the mic. Second thing its much better choice for me then F2 is compatibility with TS Timecode devices which I use. F2 cant sync with Tentacle Sync.
@@thornne I thought that by the sentence you might’ve known that but wanted to clarify in case anybody else read it. Having gone through looking for information on the subject it’s really annoying when the wrong word is used and then gets propagated throughout the entire document or form posts.
Have a question. This sync app syncs video and audio only at the beginning of file? I mean, what this app will do if my camera has very bad clock? I have for example 3 hour of record. My files will be synced by the beginning but after 3 hours in will loose sync because my camera has bad clock. Or this app can sync the files not only by the begining but correct sync during all file duration? How? In this case it should add or remove some frames from video.
The way SMPTE timecode works is that it simply encodes the timecode stamp either as an audio signal along with the video encoded file or as a metadata timestamp at the start of the file (audio or video file). Then the sync process is merely a matter of lining up the first frame with the same timecode timestamp on both files. That's all. It doesn't do any sort of compensation for drifting clocks. If you're doing long form video, I'd recommend feeding audio to the camera so that it doesn't drift out of sync over time.
@@ZhurbaV The timecode generator needs to stay attached to the camera, ideally. Technically, you could probably remove it after the recording starts, but I wouldn't chance it.
@@RChildVision The button on the right is quite tight, and has to be held in place for a couple of seconds for the recording to stop. So I think it serves roughly the same purpose. I have this Track-E and I am not concerned, at all, that it will turn off during recording. Also, you can monitor if it indeed does record via the app and also start/stop record from the app.
@@RChildVision sadly not, but you can see the waveform playing as if there was sound. So make sure the mic is placed properly on the talent so there is no rustling noises from clothes or hair physically touching it. If you make sure of that, then this recorder is foolproof. I've already used it on 5 paid videos and it works exactly as advertised.
Uuuuuh nice! And pleeease test the new Zoom F2, when it gets released. It is essentially the cheaper version of the Track E, but from the looks as good.
Is there a max db that 32 bit recorders can record before clipping? Like if you wanted to capture the sound of a rocket launch that's 180db or something. Would it still clip or could you bring that down too?
Short answer: 770dB. In 99.9999999999999% of cases, the microphone's ability to capture a loud sound will be compromised long before the 32-bit float recorder: www.sounddevices.com/32-bit-float-files-explained/
Hi Curtis. Great video, but could you tell me how this might work in a wedding film environment with four track e devices on talent but also four cameras running. Would you need four sync e devices with one of this track e devices seeding a master track e device? Confused!
Curtis, thanks for this and many of the other great videos. I picked up a pair of these to use mainly for interviews, but also thought I might use as a way to capture some ambient sound pick ups. Mostly sounds from nature, birds in surrounding trees, waves, waterfall ( I shoot for a lot of hotels so I travel and need to be light). It's so small I'd love to be able to quickly hook it up to something like the D3 or the RODE videoMic NTG. My thinking was a shotgun might allow me to isolate one part of the soundscape, but your videos have shown me I'm better off close to the subject and I'm not always sure I can be. Do you think I would I be better off with more of a stereo mic?
Great video! I know you did a wireless option video about a year or so ago but I am wondering if you could do another one again. I started out looking at the Deity system and a $1,000 budget and ended up thinking I needed a digital Lectrosonics system at around $8,000. I am a small operator and need wireless but I also need it to be rock solid and able to run by itself. Honestly I am not sure that combination exists! In any event, your videos have been extremely helpful, thanks for doing them.
Thanks Justin. Rock solid and able to run by itself is pretty much non-existent, I'm afraid. DEITY Connect is definitely not Rock Solid in my experience and that is true of any 2.4GHz system. You might have a look at the Sony UWP digital systems. I don't have first-hand experience with them so cannot say a lot, but that'd be one of the better options at your target budget (though I may be mistaken, it may be over budget...)
@@curtisjudd Thanks and I pretty much thought that. I have the Mix-Pre 6 II because of the 32 bit float to help m out. As to budget...well I'll spend what I have to in order to get good sound with a minimum of pitfalls. As to the Sony system one of the things I read about it was that you could not use other lavs with it because of its connections...I think. There was something that kept it from playing nice with others. Right now my two selections are the Sennheiser EW 500 G4 and the new Lectrosonics DCR822 receiver and some combination of transmitters. One more note. Check out Gerald Undone's latest video. He states that the Zoom F2 competitor to the Tentacle Sync E will allow recording and listening at the same time. Interesting news and I am wondering what loophole they found.
@@Justin_Allen Correct - I believe the Sony's use a 3.5mm TRS connector that is wired differently than most others. Lectro would be the "Rock Solid" option. Keep in mind that it is only the US versions that have the headphone jack disabled during recording due to patents held by Zaxcom. Gerald is in Canada so he may have the international version.
@@curtisjudd He confirmed that he does not have an international version and that the version he has will be the only version shipping worldwide. It was a very interesting point and Gerald was very careful about how he said it. Also, thanks for the Lectro confirmation. That's how I went from a $1,000 budget to just over $8,000 for my audio gear. And also because the Mix-Pre 6 II does not have digital in or out I am now regretting that choice...but that's one I'll have to live with for now.
Thank you Curtiss for this review. If I've understood you correctly, then I should be able to record a walking and talking on camera narrator, and use the same recording unit to also jam-sync that unit to the camera via the same 3.5 mm audio cable to the camera's TC sync in ? Or do I need an extra Tentacle Sync -eeee ?
Hi Mark, you'll still need a Tentacle Sync E for the camera. Camera's need a constant timecode feed throughout the shoot, even when they say you can just jam sync them. I am not aware of ANY camera which has a proper TCXO timecode generator inside.
Hey man. I've already got one of these and love it. I was thinking about getting another for two person interviews & documentary type shoots. Is it easy enough to monitor two of these within the app and would you recommend getting the Tentacle Sync E to plug into camera for timecode to streamline the post production audio sync process? Thanks
Thank you for the great review! Good to know this can power the Sanken Cos-11D - since the Tentacle can send 5V power. I think the Sanken needs anywhere from 3V - 10V for the pigtail version, based off their website. The Zoom F2 won't be able to power the Sanken, delivering only 2.5V of plug in power. Perhaps I'm thinking about this all wrong, and wondering if you can clarify Curtis?
Hi, Curtis, Can you jam the timecode on TrackE by using a Deity TC-1 as a master timecode generator? Edit: Seriously, whenever I have any wonder about audio I pull out your video, your channel is literally a Audio oriented university, all the educational piece can be easily found on your channel.
@@curtisjudd But I am able to unplug the TC-1 from track E after jamming, correct? Or, in the other scenario, let's say I use Mixpre 3 II as a timecode master generator, Jam a Track E via Stereo Out on Mixpre II, then Jam Deity TC-1s, then plug the TC-1s on cameras. They suppose to sync together with the timecode on Mixpre ii, won't they?
Do you have to use the tentacle sync as a mic to do timecode with cameras?Can you use just the timecode function? Are two better than one? for the recorder and camera?
No, you can use it just as a timecode generator as I recall. Two better than one? Ideally, you should use a TC generator for each recording device otherwise you'll end up having to fine-tune the sync in post anyway.
Quick question. I think it wasn't covered but please forgive me if it was. Is it possible to monitor the audio in the app by connecting headphones to the iPhone?
Have you had the chance to use the DPA 6060, I'm in between the countryman B6 and the DPA 6060 but haven't been able to find any great samples of the two microphones for a fair comparison. Any thoughts? Best, Robbie
If you can feed audio in to a device, you can attach a Sync E to it and then also record with the Track E. So yes, sort of, but you need the additional Sync E.
Great video as always! What software actually supports 32bit float files? I'm on Mac and don't use Adobe. I have Logic Pro X and FCPX but couldn't find much info online.
Thanks for the review! I wonder if I can get some sort of bluetooth audio monitoring with it (on EU version) so I can do live monitoring? I guess that would be essential for me.
I saw another review mention feeding the headphone out to a wireless unit, but that was the non us version. Bluetooth while nice has an inherent delay which varies between manufacturers chipsets.
Probably. Though be careful, bluetooth has a fair bit of latency in most cases, which makes monitoring hard when you hear the original and delayed sounds.
I think the biggest deal breaker is the headphone jack not working during recording, if I bought a dedicated audio recorder without a headphone jack or with a jack that's disabled during recording.... Was also hoping you would mention the hack that you can do with the non us model for all of those out there who aren't in the US, of feeding it into a wireless pack that way you get both remote monitoring and a backup recording. We're only now just starting to hit the Cliffs of the bad patent system, it's one thing to protect your idea it's another thing to hoard your idea. Especially when it's something every recorder has done for decades. I like the idea of this unit, but if I were to buy one it would be on holiday..... somewhere outside of the US. Unless somebody figures out how to hack it?
I, too, am not a fan of Zaxcom's abuse of the patent system or the patent office's complicity by granting patents for the combining of two mature technologies.
Hey Curtis. I have the Tentacle Sync with the Cos-11D. I primarily use it for recording vows at wedding ceremonies. I mic up the groom when doing so. I'm curious what db level you think I should record at to get the cleanest sound with the least amount of noise? Thanks in advance. Love your videos!
Tentacle Sync added the ability to monitor from the app!
That's great! I didn't realize this functionality was added.
Would love a demo on how that works and what the latency is!
@@TheRoseLiesDead Me too!
@@curtisjudd It's neat feature. I'm getting a 0.465 second delay from the actual real-time sound and that from the phone. This is not ideal, but for monitoring potential problems with mic placements etc it's fine. There's even an 'earpiece' setting, where by you can raise the phone to your ear, and it patches the audio through to there, handy if you don't have your wireless earbuds or headphones to hand (which is called the 'loudspeaker' setting, as if headphones are not connected it's patched through to the phone speaker).
@@juliansimmons7700 Thanks for sharing the results! I suspected that there would be a lot of latency and that's why most similar apps don't support this. That latency can be quite distracting if you're close enough to the talent to hear them in real live and the monitor at the same time. But I agree, helpful for at least knowing whether there's a clothing rustle or other issue. 👍
this guy is amazing with reviewing audio stuff
Thanks Sabri.
I have never used timecode before, but thanks to what I learned from these nice videos by Curtis I have just received this week one of the Tentacle recorders and two of their sync devices. I just completed my first test today running their sync devices into two Fuji cameras while recording also with their handy little lavalier recorder described in this video. Also, at the same time that I used a Tentacle Sync device in the X-T3, I could use a Deity V-Mic D3 Pro and override the Tentacle Sync's built-in mic; I did this with Tentacle's little Y-adapter cable. Everything synced up nicely and I was able to open the package in Premiere without issue. The quality of the audio is certainly fine for someone like me, but the main event for me was learning timecode and the Tentacle software, and I was very pleased not to lose the ability to plug a decent mic into the camera. This was a huge step - thanks so much for the lessons. - Dave
Thanks Dave, that’s great to hear!
Your reviews are absolutely the best. You answer all the questions I have.
CZcams owes you!
Thanks Denis!
Thank you for such amazing content. You are my favourite CZcams creator. Excellent information in a detailed and pleasant format.
Thanks Peter!
This is great for budget oriented youtubers/filmmakers. They can now BOOM their Video Mic Pro Plus mics straight into this recorder, and not worry about wireless transmission issues.
Exactly!
@@curtisjudd would this work with a phantom-powered XLR microphone if I had the appropriate adapter cable?
@@OnDirt No, if the microphone needs phantom power, this will not work. You'd need a separate power injector but those are usually pretty big and heavy, sort of defeating the purpose.
Thank you. Great review.
First to compare the zoom f2 and these wins 🤪.
Very excited for these tho, been waiting a year from when they were announced.
Im looking at those too, The Zoom F2s...
Thanks Sky London.
Can't wait to see the comparison.
Gerald Undone evidently won. 😀 But we sometimes have different perspectives so I hope you'll still find my late review helpful. He is more of a camera guy and I'm more of an audio guy, after all. 😉
@@curtisjudd definitely looking forward to hearing your thoughts. Thank you
@Curtis is the best product reviewer on the light & sound in the world.
I’ve been waiting for this product release for almost a year now
Thanks Saud!
Not a moment too soon! Great review. And thanks for the addition of highly paid actors into your demo workflow! Really really useful, actually.
Thanks Matthew! 😂 They actually are paid. Not sure about highly, but as much as the business can afford.
The Lectrosonics single channel recorder does not have a high quality time code clock, and when synced with a Tentacle Sync can drift ...but it is expensive. The new stereo Lectrosonics recorder from the specs looks like it has a high accuracy clock, so presumably no drift issues...but is very expensive. This new product from Tentacle based on your evaluation is a much more attractive product than the Lectrosonics for a reasonable price assuming it has the Tentacle Sync high accuracy time clock technology, especially considering the audio recording level features you describe. Thanks for posting your detailed review.
👍 the Lectrosonics is for the rough and tumble production sound world where toughness is top priority.
Think this be nice combined with additional wireless system to the audio out of it just to monitor the sound for any issues. For example a wireless go on the headphone out of the Track E and then just use that wireless for just monitoring.
On the non-US version that should work. Hopefully the Wireless GO doesn't impose any EMF or RF interference on the Track E.
@@curtisjudd I already sold my Wireless GO again. It had a lot of interference when the transmitter was too close to the cable of my external lav mic.
@@curtisjudd I did just that hahah czcams.com/video/7klDk969gLk/video.html
It works great but like Curtis said the US version does not have the audio output while recording due to a stupid patent
@@DuncanDimanche-sreview Courtesy of Zaxcom. Too bad, they make otherwise interesting products.
Thank you very much, Mr. Judd, for Your fantastic Production Sound tutorials! Currently, I own a pair of Tentacle Timecode boxes. Therefore, I am seriously considering purchasing these Tentacle recording boxes as well. However, I already own a set of Sennheiser G4 wireless packs, yet as you mentioned in the video, working as a "ONE MAN BAND" can be exhausting, and usually, sometimes, technically, always gets sacrificed.
Thanks Chuck.
I’ve been waiting sooo long for this review!!!
👍🎙
Really enjoy your videos. I am heading to Mexico soon and I am taking a Nikon Z6 and a Mixpre3 and have 2 tentacle sync E units. I am using Rode II wireless mics. The Rode receiver is plugged into the Mic 1 port on the Mixpre3. The tentacle sync are synced with each other using the app on my phone. I also have an atomos Ninja V on top of my camera.
The first tentacle sync E is plugged into the aux 1 output on the Mixpre3. The second tentacle sync E is plugged into the Mic port on the Nikon Z6
The HDMI port is conected from the Z6 to the Atomos Ninja V.
After I put the Audio and video into Resolve Media I then tell the video to sync to the Audio and then I place the files on the time line and tell resolve to sync by time code. This workflow works.
I tried to plug the second tecnacle sync E into the Atomos mic connection and followed the same process and it's not synced it's off.
Could it be because of a delay between the Camera HDMI and the Atomos?
Also played with making the Mixpre3 the master but still delays.
Just trying to figure out why using the MixPre3 as the master or feeding timecode into the Atomos are not synced ?
Yes, you got it - it is due to the latency in the HDMI feed from the camera to the ATOMOS recorder.
With multi mic wireless systems you also run into managing all the receivers - both for physical space in your bag and cables and batteries! With the Track E, all that goes away. :)
Good point.
Looking forward to your Zoom F2 review!!
Me too!
Gotta agree with others here. I am super excited to see a comparison between this and the Zoom F2/F2-BT. Bonus points if you can get the blue ultrasync to test with the F2-BT!
Im on that same trajectory.
F2BT is on order. That Ultrasync Blue is sort of a very niche thing - it only works with mobile device cameras. It doesn't really fit my workflow but probably does for those who regularly shoot with mobile phones.
@@curtisjudd as i understand it, it transmits to the sync attachment of the atomos ninja V as well. So there is growing use case for it.
But beyond that, it transmits a radio frequency as well, that you can pair with other ultrasync devices to feed timecode. This would be great, but then once you get all of that, you have extra stuff to worry about and you've spent just as much as you would have had you done twp track e's and a sync e! If that makes sense.
It's silly. And I'm not sure why zoom likes the ultrasync blue. If you sync your f2-bt to your f6, and then use your f6 to tc-out into your camera (provided your cam has that function), then it makes sense. But it feels like extra steps you shouldn't have to go through for functionality they could have integrated in easier.
@@directoradamg Agreed - seems convoluted.
Thank you for this and all of your great videos. As other's have also said, I love your little summary section in the beginning of your videos. I also think it's also something that could be potentially improved to really shine.
Thanks! What did you have in mind for improving the summary?
@@curtisjudd The summary is perfect. The last thing it needs is graphics, music, introductions, animations or any other sort of popular "improvements".
@@JohnRicard Thanks John.
Show us how to do the moleskin or gaffer-tape hacks when it comes to lav noise isolation!
Also, I am blown away you let the ladies go freestyle instead of reading from my man Arthur Doyle...
(Curtis, you must be going rogue or continuing the No-Effort November... Oh, and I hope your holidays were great!)
Hahaha! Ok, will do. Thanks!
yet another great review. hopefully zoom f2 has lower self-noise. thanks Chris!
Thanks Majean. I'd be surprised if it does.
Thanks Curtis, I’ll be getting this one or the Zoom F2 in the Future. I’ve bought the F1 and it might be the worst piece of equipment I’ve ever had. The F2 looks like it fixes most of the handling issues but I’ll be waiting for your review to buy anything in this space. So I’m hoping there will be an F2 video in the near future.
Thanks Spiel und Zeug. I have an F2BT on pre-order and plan to make a video covering it after it arrives. Lead times have been pretty long lately so I'm guessing it will not ship until January or February.
Change the lavalier included with the F1. The noise floor of the f1 recorder is lower than the track e visibly. With a good lavalier the f1 seems better to me.
I appreciate your accurate reviews!
👍🙏
Thanks for this vid and I just ordered a track e and a set of sync e's. Cheers.
You're welcome and I hope they work well for you!
Hi Chris, audio dork chiming in again. I would recommend purchasing lavaliere mics that terminate to the MicroDot connector, then buying a MicroDot-to-xxx adapter. "Why?" well, if you buy an expensive lav and want to resale it, you are not bound to a specific brand of wireless. I own 8 DPA 6060's...they are around $600 each ($750 w/ the Lectro MicroDot-to-TA5 adapter). If I ever want to sell them, I have a massive latitude to who I can sell to.
👍
Thanks for the review.
Nice corps jacket! 😎 It would be cool to have the ability to monitor/adjust via the app similar to Wingman. If it's not currently possible, I wouldn't mind the unit being a bit larger for that functionality.
Thanks Robert. You can adjust the gain and watch the meter on the app, just cannot monitor with headphones. I didn't know that Wingman sends an audio feed for monitoring?
@@curtisjudd Ah, I might be mistaken. For some reason I always think Wingman can monitor audio via headphones, rather than monitoring levels.
@@robchado I believe it is the same - sends meter data in real-time but no audio, at least last I checked. That'd sure be a nice feature though I'm sure there'd be a bit of latency.
Any word friends? It’s been almost a year. You mentioned it in your video Curtis. Still no audio monitoring via app? Was it brought in with a firmware update?
The international version (non-US) version allows for live monitoring via the headphone jack. If you have a family or friend from a country with a Tentacle dealer outside of the USA, have them order for you and ship to their address. Then they ship the device to your USA address. Some dealers from outside the USA will also ship to your USA address. This is due to the Zaxcom patent in the USA.
I cannot endorse this but I hear what you’re saying.
Best 1k I’ve ever spent (besides my slate)
👍
I just got a pair of these and agree with everything in your review. I would add that the included lav looks (and performs) suspiciously like a Sennheiser ME2.
I guess that would be consistent with the "made with love in Germany" marketing.
EDIT: The similarity is to the original ME2, not to the ME2-II that you showed with the Sennheiser wireless system late in the video. I would guess that Sennheiser still has the plastic case for the original, and maybe they made a "custom" part for Tentacle with that?
Thanks Patrick. No idea on the origin of the included mic, but it seems a bit less bright vs the original ME2 to my ears? On the other hand, it has been a few years since I used an original ME2.
wow this is such a great video! Thank you so much for the information :)
👍
The Zoom F2 at $149.- or the F2-BT at $199.- will be very interesting competitors. No time code but less than half the price for the former for 32 bit float and a normal battery.
Will be interesting to compare when my F2BT arrives.
What I do for audio monitoring: I attach a small BT transmitter to the Audio out and connect Bluetooth headphones to the receiver. The audio quality is ok, it has a lag of about one second, but it does the job of controlling problems like dead battery, scratching clothes, radio interference etc. The rest does the recorder (currently a Zoom H1 in my case).
👍
Great presentation - as usual!
Thanks!
very Usefull. Thank You!
Thanks.
Very helpful review, thank you Curtis 👍
👍
An updated firmware just released allows you to monitor via Bluetooth now (while recording!)
👍
Curtis,
Being a simple youtube creator, can i drop the 32bit recording from the recorder directly into Davinci Resolve and edit like other audio ? Or does the recording need reprocessing in some way for me to sync up with my camera video and audio ?
From what I recall, Resolve doesn't support 32-bit float audio files yet.
I'm pretty sure Resolve has supported 32bit floating files now for about 6 months. Since version 16.2.
Yes, the late version 16 and 17 beta all support 32-bit float wav files.
@@curtisjudd thank you Curtis 😎🙋♂️
Hi Curtis, I guess the inability to monitor is somewhat offset by the post processing capabilities provided by 32 bit floating?
Does this ‘talk’ to the AtomX SYNC module on the Atomos NINJA V? I use these and love them!
Hi Doug. Yes, I agree, somewhat offset. It doesn't solve the problem of being able to know if you have problems like clothing rustle, but it does solve the issue of setting the gain incorrectly. This is a stand-alone system and does not talk with the AtomX sync module or any of the Timecode Systems gear.
@@curtisjudd thanks Curtis 👍🏻😊
Another great informative review. Thank you!
Thanks.
Awesome video, as always!
Thanks.
Very interesting. I am actually quite surprised you did not mention a direct competitor that these are meant to replace, the Tascam DR10L units. Would be great to see the sound quality difference between the two. Glad to know the battery is user replaceable, and knowing that, it would be nice, of course, having a bunch of rechargable AAA in the Tascam is far more convenient. Simply swap out the AAA battery before every session, and even if I am low, swap in a new one. Since I film outside, I wonder what that battery life would be in 40 degree weather. When it dies, for sure SOL. I do think the time stamp encoder could be AWESOME, especially for more than 1 unit such as doing interviews. How much is the one for the camera? Or available as kits? Also, does this one allow you to dual record? On the Tascam I can record at the level along with a backup track at -12 db. And btw, your hair is great. =)
And Tascam is half the price. Can't understand either.
I’m not perfect 😔
Tascam does not do 32-bit float. 32-bit float eliminates the need for “backup” or “safety track” recording.
@@curtisjudd Nobody needs to be perfect, your videos are good as they are. But I noticed that Gerald Undone avoided to mention The DR-10L also. Won't say you both are bought, but this is strange as the advantages of the Tascam are obvious, let the 32bit recording aside.
Hey, Curtis: sound quality compared to my Tascam dr 10?
I love the freedom of not having to deal with interference and drop outs. I'm happy with my Tascam, just wondering about the sound quality. Thanks!
About the same as the Tascam when comparing included lavalier microphones.
Great video! For my uses, if this only didn't use an internal battery it would be an upgrade from my DR-10Ls. So far I've yet to find anything better.
Keep making great sound with that DR-10L!
@@curtisjudd Just want to say thank you so much for all of your videos over these years. I went from not knowing how to use a shotgun microphone or why I even needed a separate recorder, to last month hitting 300k subscribers on my main channel. I still have so much to learn from your videos
Thank you. Very informative.
👍
Thanks again for nice and wisely neutral notes on a new product. Zoom came out with one too I saw. These dont do miracles but help in situations you cannot concentrate on audio controlling AND you need to do things in postproduction, so no help for streaming audio. The distortion issue I guess comes in hands when the mic cannot handle higher audio pressure right? Nice review! PS. You could use a "normal" 16/24 bit recording with a good lavalier and record to a phone or small dig.recorder too...? (Those we have around🤣)
Hi Juuso, yes, correct on all counts.
Hi Curtis, love your show.
Tell me, it's going to work with sony lavaliers from uwp?
I in the market for those Sanken cos-11. All my wireless body packs are from sony. But I'm thinking a lot in a pair of track-e to go along with timecode. If I buy the Sanken for uwp would I be able to use on those track-e? Phisicaly they seems to fit.
Hi Lucas, unfortunately no. Sony is one of the few companies which use a different wiring scheme for their 3.5mm microphones. You would need to have the microphone re-terminated for Sennheiser 3.5mm to work with the Track E.
Thanks a lot!
Great job on the video as usual! 9:25 is probably the biggest thing I'm reluctant about when dropping around $1500 (Track E + 4x sync E & mounts) on a full audio/timecode kit from them. It's too bad the Track E doesn't do stereo 32-bit recording. Having a dual head lapel would help limit the chance of shirt noise being a problem. Another negative I'm seeing is no easily replicable batteries. Price is relative, but I'd likely be using this stuff for a long time so the batteries are another thing holding me back (Edit, nice to see they will offer a battery replacement kit). I emailed Zoom about their new F2. That one also has a few drawbacks in recording. It can do 32-bit stereo, but only in 44khz and not 48khz (48khz in mono like this one is possible). Overall, the Tentacle sync stuff does seem like the best option to get a nicely integrated timecode based audio setup with cameras that don't officially support timecode, so I'm still thinking about it. Hopefully timecode stuff becomes even more mainstream so there are more options and lower prices.
Wait what! Zoom said F2 records stereo? I emailed them saying I assume F2 records only Mono and went on asking if I can use then two F2:s with two separate mics to create binaural recording and they said nothing about stereo recording, just that the levels would be different with two separate recorders. Damn, are you sure the stereo really worksin 44.1? Like for example with this mic pair store.lom.audio/sk/collections/microphones-accessories/products/mikrousi?variant=6174830002208
Btw when I emailed Tentacle Sync about my plans for binaural audio, part of their answer was like this: "By the way, we are already working on a stereo version but I can't promise when exactly we will release it next year."
@@Taukasauva I'm not sure of anything considering I haven't used it. It is possible the person at Zoom USA got the spec wrong.
Here is the exact text from the Zoom USA rep: "In terms of your question about 32 bit float recording, the F2 records in the following file formats: 44.1kHz/32-bit float, 48kHz/32-bit float Mono, BWF format supported."
Thanks Scott!
I've got an E on order now for use at the shooting range. Should work great for that application up to the SPL limit of the mic. And I might add time code some time. Plus I can continue to use the Tascam DR-10L as a backup or at a different location. I also have a Hollyland wireless setup coming to replace the Rode Wireless Go. I lost a transmitter a few weeks ago and this looks like a good replacement plus two channel.
I hope they work well for you, Joe.
Good review. Thank you!
Thank you Richard!
May sound like a dumb question, but I’m unfamiliar with processing 32bit files, and most searches only pull up bouncing options at 32bit.
To utilize the ability to reduce clipping, would you need to have your overall session set to 32bit float (whether in audition / pro tools / etc)? I’m assuming to recognize the extra 8 bits it would need to be set globally to that prior to importing, otherwise it would truncate?
Yes, your DAW app will need to support 32-bit float. ProTools and Audition both do. Logic does not.
Very informative, thanks 👍🏼
Thank you 👍
was veeeery helpful!!!
👍
Thanks for an excellent video, Curtis. Perhaps you could consider doing a follow up on microphones and 32-bit float. I do field recording and sound effects. Clearly 32-bit float recorders handle clipping at the recorder level well, but they presumably move the limiting step to the microphone hardware. Do you have any advice, dB parameters and mic recommendations, especially for very loud and quiet sounds?
Hi DCPImages, thanks for the suggestion! For dialogue, the main purpose of this recorder, such considerations are not quite as critical as they are for sound effects. But the main factors will be the max SPL and dynamic range specifications and performance. That's especially tricky with lavalier microphones which generally don't do as well as larger microphones.
This recorder might be just what im looking for. Ive had issues with audio at times, using the cannon G7x, especially with dialogue and loud sounds clipping. Using the G7x as a blogging camera, its audio is okay to fair on average but it doesnt manage loud sounds well. For instance vlogging in a theme park where there are a lot of ambient sounds, dialogue and say, fireworks. Trying to clean all that up to a usable sound level in post is quite time consuming to say the least.
That's a good use-case for something like the Track E.
@@curtisjudd Thank you sir for the reply. I appreciate it.
Awesome! Never understood what 32-bit float is, but now because of you I do. This is amazing.
For how long has this been around? I would think everyone should record in 32-bit float, as long as your equipment can?
I need to look more into this. Thank you! Subscribed.
Thanks Stian. Not all software can read 32-bit float audio files so that is one reason to stick with 24-bit in some cases.
Thanks for the review! Any budget Lav mics that you recommend for the track E?
Merry Christmas mate.
Unfortunately nothing under $100 that’s better.
I've heard that in app audio monitoring is now available for this product, at least in beta! Would love to see you do a run down of this if you ever get the chance.
👍
Great review as always. While I really like the idea, not being able to monitor strikes me as asking for trouble. Getting back to the office and discovering some hair or clothing or other noise that could have been prevented would be such a drag.
That is the huge trade off with body pack recorders across the board. You don’t have to worry about wireless dropouts, but clothing noise and any other interference is something you cannot catch while recording.
Sound is high the mountain for a modest budget films, and I am no exemption. Sony PCM D10 is good enough to use with boom mics for indie filmmakers? or Tentacle Track E will do the job!! (I have none from both of it. So you can suggest which will do the job including dialogue, environment and foley ;). Also looking forward to enroll in your sound courses after Xmas.
Hi Jayesh, I would think that the Sony PCM D10 would be more versatile because it has XLR inputs and in-built stereo microphones for recording ambient sound. I haven't used it so I don't have a review on it, but between this and the D10, I'd think the D10 is the more versatile filmmaking tool.
@@curtisjudd thanks for the quick response 🙏🏿
Excellent video, as always, thank you! I'd say, there's not much point in getting the US version. Pairing the track E with something like a Rode wireless go, or cheaper competing products than can send two signals to one receiver is a great solution.
Also, the noise with the included tentacle microphone is very substantial!
It would be great to have quick test of the noise levels between the included mic and the Sanken cos11d. Even better, how would a similar comparison compare to the preamps of Mixpre ii series ?
Thanks Frederik, the noise floor with the Sanken in the exact same setting was 4dB RMS max lower than the included microphone.
@@curtisjudd That is better for sure but also not exceptional. Thank you!! :)
Thank you , always great work
Thanks hakam.
Love the review. Its very thorough. I find this mic quite noisy. I'd love to see you do the Instamic (or link it here if you already have).
Thanks Scribblebytes.
Hi Curtis, thanks for another professional and informative video review. I shoout with a Blackmagic Pocket 6K camera. If I wanted to use this and have timecode sync with my camera am I right in thinking I would need a Tentacle Sync E attached to my camera. The Track E would then be jammed to that device's timecode before being attached to my talent (either by wire or Bluetooth). Thanks for your help :-)
Yes, exactly right. And the Sync E and Track E can be re-jammed at any time via the mobile app.
@@curtisjudd thanks so much for such a quick response :-)
Thanks for great review. Included mic sounds a bit muffled, but its still OK as being included mic. I'd definitely use DPA with it, which I wouldn't be able to use with Zoom F2 because It doesnt have 4,5V phantom power for the mic. Second thing its much better choice for me then F2 is compatibility with TS Timecode devices which I use. F2 cant sync with Tentacle Sync.
Plug in power, Phantom is 48 volts
@@imark7777777 I guess we all know what I meant, but thanks for correcting me!:)
Agreed - the included mic works decently for very bright, articulate, sibilant voices, but a little muffled for darker voices like my wife's.
@@thornne I thought that by the sentence you might’ve known that but wanted to clarify in case anybody else read it. Having gone through looking for information on the subject it’s really annoying when the wrong word is used and then gets propagated throughout the entire document or form posts.
Thanks mate appreciate the content
Thanks Chris.
learn a lot as always tyvm curis
👍
Great video Curtis
Thanks!
Great content as usual! We wait for Zoom F2 review. BTW... What a confusing name!
👍
Have a question. This sync app syncs video and audio only at the beginning of file? I mean, what this app will do if my camera has very bad clock? I have for example 3 hour of record. My files will be synced by the beginning but after 3 hours in will loose sync because my camera has bad clock. Or this app can sync the files not only by the begining but correct sync during all file duration? How? In this case it should add or remove some frames from video.
The way SMPTE timecode works is that it simply encodes the timecode stamp either as an audio signal along with the video encoded file or as a metadata timestamp at the start of the file (audio or video file). Then the sync process is merely a matter of lining up the first frame with the same timecode timestamp on both files. That's all. It doesn't do any sort of compensation for drifting clocks. If you're doing long form video, I'd recommend feeding audio to the camera so that it doesn't drift out of sync over time.
@@curtisjudd So, I can disconect sync device after I pressed record button? SMPTE timecode is important only when record is starting?
@@ZhurbaV The timecode generator needs to stay attached to the camera, ideally. Technically, you could probably remove it after the recording starts, but I wouldn't chance it.
If you have 2 Track Es, can you misuse one as timecode generator for your camera?
I asked the same question to the guys at Tentacle Sync and they said that you need a Sync-E for the camera.
Agreed with Nassos T - you need a Sync E for the camera.
would you get this over the zoom f2?
Great question. Plus would like to know if theres a lock-hold recording feature like the zoom f2
@@RChildVision The button on the right is quite tight, and has to be held in place for a couple of seconds for the recording to stop. So I think it serves roughly the same purpose. I have this Track-E and I am not concerned, at all, that it will turn off during recording. Also, you can monitor if it indeed does record via the app and also start/stop record from the app.
@@hiawrj thanks for the reply. Good to know.
By monitoring, do you mean you can listen to the recording via the app?
@@RChildVision sadly not, but you can see the waveform playing as if there was sound. So make sure the mic is placed properly on the talent so there is no rustling noises from clothes or hair physically touching it. If you make sure of that, then this recorder is foolproof. I've already used it on 5 paid videos and it works exactly as advertised.
@@hiawrj great. Thanks for your reply
Uuuuuh nice! And pleeease test the new Zoom F2, when it gets released. It is essentially the cheaper version of the Track E, but from the looks as good.
Yes, I have it on preorder, just waiting for it to arrive.
@@curtisjudd Damn, Gerald Undone was faster 😅
Is there a max db that 32 bit recorders can record before clipping? Like if you wanted to capture the sound of a rocket launch that's 180db or something. Would it still clip or could you bring that down too?
Short answer: 770dB. In 99.9999999999999% of cases, the microphone's ability to capture a loud sound will be compromised long before the 32-bit float recorder: www.sounddevices.com/32-bit-float-files-explained/
Hi Curtis. Great video, but could you tell me how this might work in a wedding film environment with four track e devices on talent but also four cameras running. Would you need four sync e devices with one of this track e devices seeding a master track e device? Confused!
You’d need a Sync E for each camera and a Track E for each talent. Then in the app you just sync them all with a single button press.
@@curtisjudd Thanks for that. I thought each sync e had to be matched with a track e. Now I see this is done in the app
@@MMCStreamingLtd It helps to think of it this way: Each Track E essentially has a Sync E inside of it, plus the ability to record audio.
Hey Curtis, I hope you will review Zoom F2 too, this ones cheaper opponent. You are the best.
Hi Musasm, Yes, I have placed a pre-order for the F2 and will review it once it arrives. Thanks!
Curtis, thanks for this and many of the other great videos. I picked up a pair of these to use mainly for interviews, but also thought I might use as a way to capture some ambient sound pick ups. Mostly sounds from nature, birds in surrounding trees, waves, waterfall ( I shoot for a lot of hotels so I travel and need to be light). It's so small I'd love to be able to quickly hook it up to something like the D3 or the RODE videoMic NTG. My thinking was a shotgun might allow me to isolate one part of the soundscape, but your videos have shown me I'm better off close to the subject and I'm not always sure I can be. Do you think I would I be better off with more of a stereo mic?
If you want to isolate specific distant sounds, you’ll be better off with a shotgun mic.
Great video! I know you did a wireless option video about a year or so ago but I am wondering if you could do another one again. I started out looking at the Deity system and a $1,000 budget and ended up thinking I needed a digital Lectrosonics system at around $8,000. I am a small operator and need wireless but I also need it to be rock solid and able to run by itself. Honestly I am not sure that combination exists! In any event, your videos have been extremely helpful, thanks for doing them.
Thanks Justin. Rock solid and able to run by itself is pretty much non-existent, I'm afraid. DEITY Connect is definitely not Rock Solid in my experience and that is true of any 2.4GHz system. You might have a look at the Sony UWP digital systems. I don't have first-hand experience with them so cannot say a lot, but that'd be one of the better options at your target budget (though I may be mistaken, it may be over budget...)
@@curtisjudd Thanks and I pretty much thought that. I have the Mix-Pre 6 II because of the 32 bit float to help m out. As to budget...well I'll spend what I have to in order to get good sound with a minimum of pitfalls. As to the Sony system one of the things I read about it was that you could not use other lavs with it because of its connections...I think. There was something that kept it from playing nice with others. Right now my two selections are the Sennheiser EW 500 G4 and the new Lectrosonics DCR822 receiver and some combination of transmitters.
One more note. Check out Gerald Undone's latest video. He states that the Zoom F2 competitor to the Tentacle Sync E will allow recording and listening at the same time. Interesting news and I am wondering what loophole they found.
@@Justin_Allen Correct - I believe the Sony's use a 3.5mm TRS connector that is wired differently than most others. Lectro would be the "Rock Solid" option. Keep in mind that it is only the US versions that have the headphone jack disabled during recording due to patents held by Zaxcom. Gerald is in Canada so he may have the international version.
@@curtisjudd He confirmed that he does not have an international version and that the version he has will be the only version shipping worldwide. It was a very interesting point and Gerald was very careful about how he said it. Also, thanks for the Lectro confirmation. That's how I went from a $1,000 budget to just over $8,000 for my audio gear. And also because the Mix-Pre 6 II does not have digital in or out I am now regretting that choice...but that's one I'll have to live with for now.
great review !!! thx!
Thanks Marcello!
Thank you Curtiss for this review. If I've understood you correctly, then I should be able to record a walking and talking on camera narrator, and use the same recording unit to also jam-sync that unit to the camera via the same 3.5 mm audio cable to the camera's TC sync in ? Or do I need an extra Tentacle Sync -eeee ?
Hi Mark, you'll still need a Tentacle Sync E for the camera. Camera's need a constant timecode feed throughout the shoot, even when they say you can just jam sync them. I am not aware of ANY camera which has a proper TCXO timecode generator inside.
If I powered my mkh-416 using XVIVE P1 to get phantom power, then plug that into the track-E, that would work fine right? great video btw
It should, yes.
@@curtisjudd just so you know I tested it and it works like a charm. Amazing combo
@@Sirfunkymonkey Excellent, thanks for sharing!
Can you use a Rode VideoMic Pro + instead of the lav? That way I can shoot getting ready on multiple cams without lavs for run and gun work. Thinks!
It should work, yes.
@@curtisjudd Thank you!
Hey man. I've already got one of these and love it. I was thinking about getting another for two person interviews & documentary type shoots. Is it easy enough to monitor two of these within the app and would you recommend getting the Tentacle Sync E to plug into camera for timecode to streamline the post production audio sync process? Thanks
Not sure about monitoring, I haven’t set that up on mine yet (I don’t use them very often).
#TentacleSync#TracE#Recorder Learning a lot today.
👍
Great review as always. Thanks for comparing to another pro lav.
👍
Thank you for the great review! Good to know this can power the Sanken Cos-11D - since the Tentacle can send 5V power. I think the Sanken needs anywhere from 3V - 10V for the pigtail version, based off their website. The Zoom F2 won't be able to power the Sanken, delivering only 2.5V of plug in power. Perhaps I'm thinking about this all wrong, and wondering if you can clarify Curtis?
That seems like good reasoning. I'll test with the Sanken when the F2 arrives.
This is very true. I literally just went through this today. I bought the F2 and it couldn’t power the countryman b3 or the Tram50
Hi, Curtis, Can you jam the timecode on TrackE by using a Deity TC-1 as a master timecode generator?
Edit: Seriously, whenever I have any wonder about audio I pull out your video, your channel is literally a Audio oriented university, all the educational piece can be easily found on your channel.
Yes, but only via wire, not wirelessly.
@@curtisjudd But I am able to unplug the TC-1 from track E after jamming, correct?
Or, in the other scenario, let's say I use Mixpre 3 II as a timecode master generator, Jam a Track E via Stereo Out on Mixpre II, then Jam Deity TC-1s, then plug the TC-1s on cameras.
They suppose to sync together with the timecode on Mixpre ii, won't they?
@@thatsamuellu yes, via cable, but not wirelessly.
0:13 Wait the summary says 24-bit w/ limiter and locut. But then in your take you say 32-bit. Either way, is it better than the Zoom F2?
It has two modes and yes, I prefer this to the ZOOM F2
Do you have to use the tentacle sync as a mic to do timecode with cameras?Can you use just the timecode function? Are two better than one? for the recorder and camera?
No, you can use it just as a timecode generator as I recall. Two better than one? Ideally, you should use a TC generator for each recording device otherwise you'll end up having to fine-tune the sync in post anyway.
Quick question. I think it wasn't covered but please forgive me if it was. Is it possible to monitor the audio in the app by connecting headphones to the iPhone?
No, it is not possible.
that lav mic looks suspiciously like a Sennheiser ME2 (love the review btw!)
👍
Excellent review. Not that it is needed but does the USB-C port allow powering the unit.
yes, occasional power bank support can be done. No problem.
Agreed, yes.
Great review Curtis but, do you think it can be used as a backup recorder for a beltpack transmitter?
In lieu of a transmitter, yes.
hey, nice review..as always. quick question i cant get the other brand you mentioned. Electrosonics???
Lectrosonics SPDR: bhpho.to/3lLYI9V
That's an affiliate link. As an affiliate, I earn from qualifying purchases.
Have you had the chance to use the DPA 6060, I'm in between the countryman B6 and the DPA 6060 but haven't been able to find any great samples of the two microphones for a fair comparison. Any thoughts? Best, Robbie
Hi Robbie, I haven't used the 6060, unfortunately.
@@curtisjudd No worries, I hope you had a nice day. : )
Can I use only track e recorder and Timecode it to gopro or iPhone without a sync e unit?
If you can feed audio in to a device, you can attach a Sync E to it and then also record with the Track E. So yes, sort of, but you need the additional Sync E.
Could I plug in a wireless lav system like DJI mic (receiver) into this?
Technically, yes, it should work.
Great video as always! What software actually supports 32bit float files? I'm on Mac and don't use Adobe. I have Logic Pro X and FCPX but couldn't find much info online.
Logic does not support 33-bit float last I checked. Pro Tools and DaVinci Resolve do.
Thanks for the review! I wonder if I can get some sort of bluetooth audio monitoring with it (on EU version) so I can do live monitoring? I guess that would be essential for me.
I saw another review mention feeding the headphone out to a wireless unit, but that was the non us version. Bluetooth while nice has an inherent delay which varies between manufacturers chipsets.
Probably. Though be careful, bluetooth has a fair bit of latency in most cases, which makes monitoring hard when you hear the original and delayed sounds.
I think the biggest deal breaker is the headphone jack not working during recording, if I bought a dedicated audio recorder without a headphone jack or with a jack that's disabled during recording.... Was also hoping you would mention the hack that you can do with the non us model for all of those out there who aren't in the US, of feeding it into a wireless pack that way you get both remote monitoring and a backup recording.
We're only now just starting to hit the Cliffs of the bad patent system, it's one thing to protect your idea it's another thing to hoard your idea.
Especially when it's something every recorder has done for decades.
I like the idea of this unit, but if I were to buy one it would be on holiday..... somewhere outside of the US.
Unless somebody figures out how to hack it?
I, too, am not a fan of Zaxcom's abuse of the patent system or the patent office's complicity by granting patents for the combining of two mature technologies.
Hey Curtis. I have the Tentacle Sync with the Cos-11D. I primarily use it for recording vows at wedding ceremonies. I mic up the groom when doing so. I'm curious what db level you think I should record at to get the cleanest sound with the least amount of noise? Thanks in advance. Love your videos!
Hi pg, fortunately, with the Tentacle Track E, you have leeway in post so I’d just aim for -12dB. Happy recording!
@@curtisjudd thank you for the quick response!