Sony Professional PCM-M10
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- Hasta 24-bit/96 kHz o MP3
- Carcasa metálica
- Color: gris antracita.
- Micrófono de condensador electreto estéreo integrado
- Altavoz interno
- Memoria de registro (Max. 20 GB)
- 4 GB de memoria flash interna + MicroSD
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Descripción del producto
Aquí el último grabadora digital móvil en fecha, el PCM-M10. Es la herramienta ideal para los músicos preocupados por su presupuesto que desean marcar y grabar las sesiones en estudio o rendimiento en escena. También se puede utilizar como reproductor de música.
El PCM-M10 se inspira de las cualidades que hacen la excelente reputación de dispositivos grabadoras portátiles Sony. Se impone como el compañero ideal para los músicos y profesionales del journalisme o del broadcast excelente rendimiento audio exigente a un precio razonable.
El nuevo PCM-M10 integra un puerto USB alta velocidad simplifica la carga y descarga de archivos grabados en nativo a formatos.WAV o.MP3, hacia o desde un PC o Mac. Está construido de metal resistente y contiene una batería de larga duración con alimentación por pilas alcalinas AA tradicionales.
- Micrófono integrado: Condensador electret
- Nivel de entrada Max. : 123 dB SPL
- Respuesta en frecuencia de 20 Hz a 20 kHz
- Grado: Muestreo 16 bits lineales, 24 bits lineal
- Formato de grabación: estéreo PCM lineal.WAV y.MP3
- Informe S/B: 87 dB o superior (1KHz IHF-A) cuando ajustar en 24 bits
- Frecuencia de muestreo: 22.05 KHz, 44.1 kHz, 48 kHz y 96 KHz
- Distorsión armónica total: (entrada de línea a salida línea) 0,03% o menos (1KHz, 22 kHz LPF)
- pleurage y parpadeo: debajo de la límite medición (inferior a +/-0,001% av. pico)
- Búfer de suciedad. grabación de 5 segundos
- Memoria flash de 4 GB
- Entrada jack DC: 3 V
- Respuesta en frecuencia: FS = 96 kHz: Respuesta de frecuencia = 20 hz a 40 kHz (entrada de línea)
- Salida auriculares mini-jack estéreo; Salida máxima: 20 mW + 20 mW; Impedancia de carga: 16 ohmios
- Entrada de línea (analógico): mini-jack estéreo, Impedancia de carga de entrada: 22...
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Another thing I might add is that in the description on this item page, the package contents aren't mentioned very thoroughly, so I would like to put them here. It comes in a nice looking box, and you are definitely buying the retail item as it ships from Sony, which includes everything that it is supposed to (the item page almost makes it seem like you are buying just the recorder itself). Anyway, here is what comes in the box:
Sound forge audio studio LE software CDROM
AC power adapter AC-ES3010K2
2 x Alkaline batteries (AA size)
Wired remote control
Also, for information purposes, I thought I would mention that there IS a STANDARD TRIPOD MOUNT on the back of the Sony PCM-M10, which for some reason was difficult information to come by for me in my research. I found pictures of the rear of the device, but even then it was hard to verify that I was actually seeing a mount.
I recorded last night with a friend, two acoustic guitars and vocals, side by side with the Sony PCM-M10 and an Equitek E-100 Condensor Mic, running into a mixer and computer software, and the Sony sounds as good if not a little better. Low noise, clean, and full frequency response from the Sony. It has meter (green) and peak lights (red) on the areas above each of the stereo mics on the body of the Sony, so monitoring is visually possible, without having to look at the screen on the front. The H4n didn't have that.
The Sony PCM-M10, with 2 NiMH AA batteries (2500 MaH) will record for 50 hours (yes, it's true), and recording @ 320Kbps, 44Khz MP3, the 4gb internal memory will hold 27 hours of sound. The Zoom H4n could record for 7.5 hours using NiMH batteries (the same ones I am using in the Sony), and had no internal memory of its own. There is a MicroSD slot on the Sony PCM-M10, and can hold the currently available 32gb cards if necessary. I could find no indication anywhere I looked that it wouldn't hold even bigger cards if they become available in the future. The Zoom takes full size SD cards, but also supports 32gb cards.
When you power up the Sony PCM-M10, it is up and running, and able to record, in around 5 seconds, which is phenomenal, and was an added bonus for my purposes...
The Zoom H4n wasn't "ready to record" for over 15 seconds. The Sony also has a record-ahead buffer, which will start recording a 5 second cache, before the record button is pressed, so you don't lose the beginning of something, if you weren't able to hit the record button in time. That is sweet.
The two input jacks (mic and line) are on the top of the device, in between the microphones, which is a good location, and the speaker is on the bottom (yes there is a monitor speaker for quick playback review).
The buttons feel solid and responsive, even for my stumbling fingers, which is remarkable, and the remote buttons are more of a "soft dome" sort-of depression style, but same thing, very responsive and solid feeling. The screen is big and very clear, with all the information laid out logically and vividly. It supports ID3 tag, so if you put MP3 music on the device, it will show you the information on the screen.
There is a tight and precise REC level wheel on the right side of the unit, and a rocker style output level on the left side of the unit. The functions available directly on the outside of the device are (if you are facing the display screen):
1. Below the screen:
Folder, Menu, Delete, playback functions (A-B), Display (I really like this feature, being able to turn the backlight on, etc., with a single button)
2. Transport keys:
Fast Forward (shares with menu up), Fast Reverse (shares with menu down)
T-Mark (marks tracks for splitting)
3. Left Side:
Volume (output level), DPC (Speed control) (on/off)
4. Right Side:
Mic sensitivity (Low / High), REC LEVEL WHEEL, REC LEVEL Switch (Manual/Auto), Power switch (it is a slide, and has a HOLD function)
Besides the physical adjustments mentioned above, the Menu on the device is replete with features, and very very easy to maneuver.
First, I'll elaborate a bit on what I like about it. The gain potentiometer is smooth and is well designed to prevent accidental adjustments. I think this is indispensible in the field, since one can't be clicking buttons on the machine while recording just to make a gain adjustment. I would have appreciated another rotary knob for the headphone out, but the volume rocker suffices. I'm always appreciative of the low noise floor when recording (especially ambiences) in quiet environments, and this is its major advantage over the competition in my opinion. It means more useable material, and much less need for noise reduction on the recordings I do keep. The 4gb internal memory is handy and I've grown so fond of the cross-memory recording feature I think I couldn't do without it now. I'll say the same about the battery life; as a rough calculation I usually get around 35-40 hours of recording at 24bit/48k (with very little monitoring), and in standby it will last for days or weeks. It also comes with an a/c adapter.
There are recorders that offer a slightly wider stereo perspective, but I'm happy with the mic configuration, positioning on the machine (recessed is good), and sound quality. The built in mics are usually all I need but I also have a Rode NTG-2 (self-phantom-powered shotgun mic) that connects via XLR to 1/8" cable (dual mono, so you get left and right) straight into the mic input. It sounds good in quieter spaces (say, for ADR) but would benefit from some amplification for boom pole work or outdoor applications. The auto record level is a good idea but it sets the level too low, presumably to prevent having to use the limiter in case of unexpected noise, but as a result the signal to noise ratio goes up so it isn't useful to me.
Both the front panel and the tripod mount are made of metal, the rest is plastic. It's solid feeling and doesn't creak when handled. The battery and microSD slot covers both remain attached when opened - nice touch. The optional green/red LEDs on the transport buttons and for the -12dB/clip are incredibly useful in low light, unless you're using a windscreen which covers the -12dB/clip lights. The remote has a generous 6.5 foot cable and allows record, pause, stop, and t-mark functions, and has a record indicator light. Why they didn't include gain adjustments is a mystery to me, and I wish the remote was wireless like the Tascam DR-100.
The screen and button layout, although not very intuitive, are fine with me after the initial adjustment and the menu is reasonably straightforward once you get to know it. Bottom line, it works, but they could have done a much better job with the menu, button layout, and folders. There are some unexpected features in the menu, however, such as key control (pitch) and DPC (speed) but I never use them so have little to say, except that I once accidentally turned on the DPC (+20%) and I thought it sounded quite smooth. Probably very handy for those who need to transcribe or get through lectures, etc. at faster or slower speeds. The DPC speed is set in the menu and there's an on/off switch on the back of the machine. The file copy function is another good idea, allowing you to copy files from internal memory to the microSD, but only one file (rather than folder) at a time which gets tedious and time consuming with more than a few recordings. This may stem from the awkward folder system.
Although I have quibbles with some of the design choices, this has been a very solid recorder for me. I prefer it to my Tascam DR-05 and DR-100 mkII as well as the Zoom H2n and H4n (all have noisier preamps and are decidedly not easily pocketable), though each recorder has its advantages. The fact is, this is my favourite one because its the one I carry it in my pocket or backpack daily. It's about the height/width of an iphone 4 and twice the thickness - quite pocketable. It took lots of time using other recorders, reading/watching reviews, and listening to samples online to decide on the m10 and that's why I took the time to write a longer review, so I hope this is helpful.
The Tascam DR-40 would get roughly fourteen hours of realistic use, an improvement over the Zoom ZH4N, but not even in the same ballpark as Sony's PCM-M10; thirty hours shy to be exact. The DR-40 also suffered from noise/hiss when recording (as I would occasionally) in the MP3 format. This wasn't a major concern for me personally as I almost always use the WAV format, but it was a thorn in my side on principle mainly do to its price tag. There should not be that much noise when using an audio recorder this expensive. Again, the Sony PCM-M10 does not have this problem; in fact, its sound quality trumps both of the mentioned competitors. Fluent and crisp the playback the PCM-M10 produces is very true to the original sound it records with barely a hint of noise, hiss or hum. Beautiful.
A common complaint from other consumers is the Sony PCM-M10 lacks the features of the aforementioned units; most notably the XLR inputs and 4-track recording ability. Well, yes...that is a good argument in theory. However, after using the Zoom ZH4N I quickly realized its promise of a 4-track recording option was rather limited. It can technically record four tracks at once, but two of those tracks are intended to come from the unit’s onboard mics. There is a 3.5mm jack that can bypass those mics, but this is still a bias-powered mic level input. It can be made to work with yet another padded cable, but doing so involves such a web of special cables and workarounds that I’ve never tried to do a 4-track recording in the field.
At first glance, the 3.5mm stereo line in jack on the Sony PCM-M10 would seem to be a downgrade of the balanced ins on the Zoom, but since these are true line-level ins, this isn’t the case. Levels match fine from my mixer tape out using a plain 3.5mm stereo cable. Plus the Sony has a rotary input level control, so adjusting levels is a bit faster that setting a level using an up/down button, as it is on the Zoom. It is slightly more likely to accidental adjustment through careless handling, though. Be sure to watch your levels when recording.
Testing my Shure SM58 vocal microphone on the PCM-M10 I needed to add a low to high impedance processor cable in order to correct the low impedance of the microphone itself. This is common among microphones of this sort, but something I felt potential buyers might want to be aware of. When using low impedance microphones, such as the Shure SM58, they have a very low output level. An electric guitar, on the other hand, has a much hotter output. The sound card on the Sony PCM-M10 requires a hotter level in order to record sound more accurately. In other words, your electric guitar might sound perfect during playback, but your vocal microphone will barely be audible. Some consumers experiencing this initial difference in level between two devices might confuse the mismatch for faulty hardware. This is common, but the accessory cables I mentioned earlier correct this problem and (depending on the brand) aren't terribly expensive. I have noticed a small decline in sound quality when using impedance processor cables, but not enough that the average user will even notice.
Getting back to the basics; sound. Let's not stray too far from the bottom line with technicalities and additional features when, of course, sound quality is probably the most important factor when purchasing an audio recorder. I can assure anyone considering the Sony PCM-M10, you will not be disappointed with the sound it records. What you can expect is a low noise, clean, and full frequency response from the unit. Audio quality that is noticeably better than other units of this caliber. Even handling noise is minimal unless the recording gain is upped too high. The two built-in omnidirectional condenser microphones create accurate stereo separation when the unit is in the middle sound fields. Which is surprising, as ordinarily audio recorders of this size don't produce decent stereo playback from omnis so close together. That's why stereo recorders/microphones usually use two cardioid patterns. The only negative aspect of cardioids is less sensitivity for low frequencies, whereas an omni will capture them much more accurately. The Sony PCM-M10 tackles this problem by setting the microphones inside the unit, away from each other, so each effectively hears its own half of the sound (with remnants of the other half). The effect is a beautiful stereo separation. It also creates a wide, flat frequency response typical of omnidirectional microphones. Even the bass can be strong when the unit is recording near the sound source, the recorder even has a low-frequency cutoff you can switch...just in case you want to lessen that rumble. In short, the Sony PCM-M10 is a very full sounding unit.
The unit also comes equipped with two meters (in the form of lights) which are green and red (peak lights) placed above each of the stereo microphones. Making monitoring distortions visually possible, even in low lighting, without having to use the LCD screen on the front. Another convenient feature the Zoom ZH4N lacked.
Overall the Sony PCM-M10 has impressed me greatly with what it can accomplish in such a compact (and convenient) package. It excels where other audio recorders fall short and keeps going long after their batteries have died.
- Carrying case sold separately
- Expensive custom windscreen sold separately
- Low volume on-board speaker (very quiet playback from the unit itself, even at full volume)
- Outstanding Battery Life: The Sony PCM-M10 excels above
- Expandable Memory: Up to 16GB of additional flash memory can be added via Micro SD Cards or Sony Memory Stick Micros.
- Rugged Aluminum Construction: Some reviewers mistakenly confused the aluminum casing with plastic, this is probably because of how light the unit is.
- Superb Recording Quality: The PCM-M10 is a 96 kHz/24bit linear PCM recorder that records in .WAV or .MP3 format and provides faithful recordings of even the most subtle nuances of live performances and events.
- Playback Functions: Provides MP3 playback, a special Digital Pitch Control that slows down playback without changing pitch and an A/B segment/repeat feature that allows you to mark and repeat a segment.
- Track Marking: As you play a recording, the track marking function allows you to mark and locate sections of that recording for easy future reference.
- Playback Key Control: This feature allows you to change the pitch of a song that has been recorded, which is especially helpful for musicians who want to sing the song in a higher or lower key.
- Cross Memory: This crossover function allows you to continuously record from the 4GB built-in memory to the Memory Stick Micro (M2) or microSD and vice-versa, ensuring no interruption of recording if one medium reaches capacity.
Maximum Recording Time On 4GB Internal Memory:
- MP3 44.1kHz/64 Kbps: 134 Hours 10 Minutes
- MP3 44.1kHz/128 Kbps: 67 Hours 5 Minutes
- MP3 44.1kHz/320 Kbps: 26 Hours 45 Minutes
- LPCM 22.05kHz/16 Bit: 12 Hours 05 Minutes
- LPCM 44.1kHz/16 Bit: 6 Hours
- LPCM 44.1kHz/24 Bit: 4 Hours
- LPCM 48kHz/16 Bit: 5 Hours 30 Minutes
- LPCM 48kHz/24 Bit: 3 Hours 40 Minutes
- LPCM 96 kHz/16 Bit: 2 Hours 45 Minutes
- LPCM 96 kHz/24 Bit: 1 Hour 50 Minutes
- Width: 2 1/2 inches
- Height: 4 1/2 inches
- Depth: 7/8 inches (not including projecting parts and controls)
- 6 5/8 oz. including 2 LR6 (size AA) alkaline batteries
What's in the box? Here ya go:
- Remote control
- Sony Sound ForgeAudio Studio LE (CD-ROM)
- AC power adaptor
- Hand strap
- USB cable
- Sony AA alkaline batteries (2)
- Operating guide
- Sony warranty
So far I've used it with three different mics, including the built-in mics, naked and with a faux fur windscreen. (The windscreen I use came with my Tascam TM-2X DSLR mic, and it is a perfect fit for the Sony and it does a great job blocking wind noise, as long as the wind is on the moderate side.) I've used it with the great Roland CS-10EM In-Ear Monitors, which enable you to make binaural recordings. (The Roland come with foam windscreens that in my experience are all but worthless outdoors, so for outdoors recording with the CS-10EM and the Sony you really need a day when there's no wind at all. But indoors is amazing. I can listen to recordings I've made with the Sony and Roland in restaurants and stores, etc., and with my eyes closed I feel like I'm actually there.)
And last and most definitely not least - in fact best - is recording with the Audio-Technica AT2022 X/Y Stereo Condenser Microphone. Wow. That mic is designed to work with plug-in power, which the Sony provides, and with recorders with 3.5mm stereo jacks, and it comes with a cable that is XLR on one end, to connect it to the mic, and a 3.5 stereo plug on the other, to connect it to the recorder. The Rode NT4 Stereo Condenser Microphone would also work with the Sony when the Rode is powered with a battery (it does not use plug-in power but is designed to work with both recorders like the Sony as well as recorders that have xlr inputs and that provide phantom power). I would love to try a Rode NT4 with the Sony but for now my budget limits me to the Audio Technica AT2022, and I am enjoying the heck out of using it with the Sony.
I primarily use the Sony for nature recordings as well as any sounds that interest me regardless of how "natural" the environment may be. I was so eager to use it to record a live performance by a band in a club whose members are family friends, but a family member's trip to the ER (she's okay!) nixed that, so some other time, but I'm sure this recorder just with the built-in mics or the Roland or the AT2022 will do an awesome job for live recordings in small venues.
I think this would be a great recorder for making ASMR type recordings (just search asmr if you're unfamiliar, or better yet, slap on some headphones and treat your ears and brain to something new at YouTube where you can look up and listen to and watch, "Departure Ep. 1: Departure (or "Space Travel Agent") - ASMR Sci-Fi Series").
It's easy to use, with what I would say is a pretty slight learning curve (e.g., compared the Tascam models I mentioned). For my purposes, I leave the MIC SENS button on the back set to HI. I leave the SPEED CTRL set to OFF. I leave the REC LEVEL switch on the back to MANUAL. There's a REC LEVEL dial on the side of the recorder and for the built-in mics I typically leave it on 3, with the AT2022 I may go up to 4.
This is plug and play for me with both a MacBook Pro and a Windows 10 laptop, with the included USB cable. It's so easy to transfer recordings from the Sony to a computer that I've had no need to take advantage of the fact that the Sony has a slot for a microSD card. I use the free audio editor Audacity on PC and Mac for editing recordings I've made on the Sony, and if and when I feel it's necessary, I go into the Effects menu on Audacity and use noise reduction.
This is an incredibly quiet recorder, with incredibly quiet built-in mics. Much quieter in my experience than the Tascam DR-40 and DR-44WL. (I forget the technical term - noise floor? - but if you were to try different recorders in an utterly quiet room with no background noise, you would hear different amounts of base noise - I'm not sure if hiss is the right term - with each. This Sony is really quiet in that regard.)
There is a tiny built-in speaker on the bottom of the recorder, which is useful only for knowing that you've recorded something, assuming you recorded without listening through earbuds or headphones while recording. If you recorded, say, a lecture and wanted to listen to it with this speaker, I don't think that would be much fun because the audio quality is low.
This recorder operates on wall power with the included wall wart and electric cord, and for portable use on two AA batteries, and the batteries last "forever." I've easily gone 20 hours before having to replace non-rechargeable AA's. Rechargeable Eneloops don't last nearly as long and I think it works better to use non-rechargeables with this device. It's amazing how long batteries last in this recorder.
I first learned about this recorder from audio producer/editor Curtis Olson's site, Minnesota Soundscapes, in his informative article, "Stereo Microphone Arrays for Ambient Field Recording." After reading about the Sony there, I did further research and discovered that a number of people who seem to have serious if not professional expertise about recording really like this recorder for field recordings for times when a handy yet high quality portable recorder is in order. I'm so glad I found out about it and bought one. I have it sitting next to me now because I've been playing with it today, just for the sheer pleasure of enjoying clearly recorded sound.
I highly recommend it.