Tascam released an update of the DR-07X in February 2025, adding 32-bit float recording and USB-C to the feature set and renaming it the DR-07XP. I was in the market for a small 32-bit float audio field recorder for casual recordings of rehearsals and travel. A few days later, a DR-07XP was on my desk.
The audio recording technology of capturing an extreme range of dynamics without clipping or losing quiet sections below the noise floor is called 32-bit float recording. For example, soft sounds may be made louder in post-production editing without quality degradation. Thus, you can record high-fidelity, low-noise audio without setting input levels. In fact, some 32-bit float recorders, like the Zoom F3 and H1 Essential, lack gain controls and rely on users to set desired levels in post-production.
As hinted at above, there's a cost to 32-bit float: post-production editing. If the audio barely moves the meters, the track needs to be normalized to -12 or so. If clipped, levels need to be reduced below 0 dB. What's amazing about 32-bit float is, after raising or lowering levels, the track sounds squeaky clean. With a 16 or 24-bit file in a similar situation, you'd suffer ugly hiss or distortion after large amounts of normalization.
Case styling, physical controls, and menus of the DR-07XP closely resemble the prior model, the DR-07X. Indeed, appearance and controls are similar to the DR-05, DR-07, and DR-40 of yesteryear: lightly textured satin-finished gray plastic, raised buttons, and illuminated monochrome LCD. The LCD is readable in both bright and dark environments. The DR-07XP lacks XLR inputs, making it smaller and lighter than the DR-40 series. The petite size and smooth contours feel comfortable and secure in my medium-sized hands.
Fit and finish are excellent, but the build is light-duty, albeit more solid feeling than the flimsy Zoom H1 Essential recorder.
The DR-07XP has a handy 1/4” tripod socket on the back for use of quick release plates, booms, tripods, etc. Be careful not to over-tighten when mounting, as the threads appear to be plastic.
Controls
Physical controls are basic, but the important ones—record, stop, levels, pause, hold, menu, etc.—are easily accessible on the front. The hold switch—used to lock controls—is the only physical switch on the side of the unit. Unlike the Zoom H1 Essential, DR-07XP buttons are large enough to avoid inadvertent pressing of neighboring controls. Plus, buttons are raised, varied in shape, and positioned in a cluster for tactile operation in the dark or a coat pocket.
Tascam DR-07XP | Control cluster
With RECORD armed (red button), recording levels may be adjusted directly on the left and right arrow keys. The QUICK menu accesses common options for a particular mode. For example, when RECORD is armed, the QUICK button pulls up the low-cut filter and mic channel reversal options (needed when switching between X/Y and A/B mic positions). The PB CONT button is dedicated to playback options. MARK sets tags or markers in tracks. Less used options, e.g., system setup, effects and recording modes, are organized in nested menus and accessed by pressing the MENU button.
Gain Control in 32-Bit Float
I mainly record soft acoustic instruments like classical guitar and ukulele. With my Zoom H1 Essential and Zoom F3, 32-bit float audio recorders without gain control, a finger-picked classical guitar barely registers on the meters and needs nearly +20 dB of normalization in an audio editor. Tascam recorders, including the DR-07XP, allow manual gain in 32-bit float mode. You don't have to use it, but proper gain staging will save post-production toil and deliver usable files straight from the recorder. However, if you clip on a peak or forget to set gain, 32-bit float allows fixing levels after the fact.
Connectivity
Analog Input
Audio input options are twofold: built-in unidirectional stereo mics or a 3.5mm jack for an external mic, e.g., stereo mic, lavalier or shotgun. Once mic power was enabled in the menu, my Tascam TM-2X and Sennheiser MKE 440 stereo mics worked perfectly. Although the Sennheiser requires an internal battery, engaging mic power on the DR-07XP enables the mic's auto-on/off feature.
Analog Line Out
Analog output—combo headphone/line out—comes from a single mini-stereo jack. Besides allowing playback through headphones or a home stereo, line out can be plugged into a camera or wireless transmitter and provide audio without needing to sync to video in post-production.
USB-C
The DR-07XP features a USB-C port (USB 2) for bus power, digital audio interface, or uploading to a computer. When a USB cable is plugged in, the DR-07XP offers a menu with USB power, USB data, and audio interface options.
The audio interface mode only allows 24-bit at 44.1 or 48 kHz—plenty of resolution for YouTube videos, podcasts, Zoom, and OBS. If you need 96 kHz and/or 32-bit float, you'll have to record directly to the DR-07XP. Audio interface mode worked well on my Mac: the DR-07XP appeared immediately as a source in the Sound Settings panel. I was able to record perfectly to TwistedWave, Audition, and Logic Pro.
MicroSD
The tiny and ubiquitous microSD is required for recording, allowing up to 512GB on microSDXC. Compared to video, digital audio storage is far less demanding. Most mere mortals can track for days with a 64 or 128GB microSDXC. For example, a 128GB microSDXC can hold about 45 hours of audio at 96 kHz and 32-bit float. Recording at 48 kHz and 32-bit float yields 90 hours!
Batteries
Two AA batteries, alkaline or NiMH, are used to provide power. For accurate battery charge metering, battery type must be set in the menu. I use Eneloop rechargeable (NiMH) AA batteries, and they last through a day of rehearsals with power to spare. Tascam claims 11.5 hours of 96 kHz 32-bit float recording with Eneloops. Alkaline batteries last a few hours longer. Lower sampling and bit rates yield longer battery life than higher sampling and bit rates. However, a USB battery pack is a better choice if you need extended runtime. I normally use the DR-07 on a tripod and simply tape a USB battery pack to the tripod leg, providing power for weeks of sessions.
I'm thankful Tascam avoided the pitfall of built-in rechargeable batteries. My wireless transmitters and mics with built-in batteries have died on shoots, and stopping to recharge for an hour is a PITA. Worse yet, after a couple years some devices won't hold a charge and end up in a landfill. With the DR-07XP, simply swap batteries or plug in a USB power brick and it's back in business.
Tascam DR-07XP Sample | Ukulele students playing Rose. | 48 kHz, 32-bit float and AB mic position | Video sync in Final Cut Pro.
Sound Quality
I use the DR-07XP to record rehearsals, impromptu performances, and ambient nature sounds. Its built-in unidirectional mics deliver clean, full-range, and accurate sound, effectively picking up frontal sounds while reducing sound from the rear. The A/B mic position excels at capturing sounds from extreme sides and creating a sense of space and direction, making it ideal for large ensembles and choirs. In the Yellow Bird video below, I placed the DR-07XP on a tripod with the mics spread to the widest A/B setting. The directional aspects of the sound stage are vivid and clear, with the left, right and center players sitting appropriately in the stereo image.
Tascam DR-07XP Sample | Guitar students playing Yellow Bird. | 48 kHz, 32-bit float and A/B mic position | Video sync in Final Cut Pro.
DR-07XP mics and preamps are excellent considering the price point. In 32-bit float mode, I didn’t notice any hiss while listening to soft plucked string ensembles and classical guitar, even after normalization. However, hiss may be apparent in 16 and 24-bit modes when gained up to extremes in a quiet environment. However, to put that in perspective, these lower bit modes are still significantly less noisy than tracks from my Canon R6 MK II and old DR-100 MK II.
The DR-07XP has a “smart” auto gain mode, Peak Reduction. It automatically sets levels by measuring input and adjusting for optimal level (-12dB). Unlike Auto Gain, Peak Reduction only backs off gain to prevent clipping, making it less dynamic squashing.
RFI Resistance
Here in RFI infested downtown Honolulu, no static, clicks or rogue radio stations were heard on tracks recorded with the DR-07XP. Indeed, I recorded it within inches of my Mac Studio and iPhone and heard no RFI whatsoever. In contrast, older models like the DR-100 and DR-40 were RFI prone, recording static and bird-like chirps when within a meter or two of a smartphone.
Spoken Word
Out of the box, the DR-07XP is ideal for instrumental, camera, and ambient use. It’s also great for spoken word and singing, but it lacks wind protection and is sensitive to wind, breath, and plosives. Voices sound best close to the mics (5-10 inches), so a pop filter, deadcat, or foam windscreen is essential. The best technique is to use, X/Y mic mode, a pop filter or deadcat, and speak or sing slightly offset to reduce mouth air into the mics.
Below are audio samples of the Tascam DR-07XP and a few other recorders and mics I use for camera audio. I spoke into each mic at a distance of 5 to 6 inches. Save for the Sennheiser MKE 440, all mics wore some type of protection, either a foam windscreen or deadcat.
Tascam DR-07XP
This is a spoken word track recorded with the Tascam DR-07XP and built-in stereo mics in X/Y configuration. No processing other than normalization was used. It was recorded at 48 kHz and 32-bit float with a deadcat installed.
Tascam DR-05 & TM-2X
This is a spoken word track made with the diminutive Tascam TM-2X stereo mic and Tascam DR-05. No processing was used, and it was recorded at 48 kHz and 24 bits. It is a bit boxy and thinner in sound compared to the built-in mics of the DR-07XP.
Tascam DR-05 & Sennheiser MKE 440
This is an unprocessed track of the Sennheiser MKE 440 made on a Tascam DR-05 at 48 kHz and 24-bits. The MKE 440 is a stereo shotgun mic, ideal for music capture outdoors. The unprotected MKE 440 has excellent control of plosives and sibilance. In fact, the outer housing even does well in light wind.
Rode VideoMic GO II
The Rode VideoMic Go II is a small monophonic shotgun mic designed for arm's length hot shoe use. Besides TRS analog output for cameras and audio recorders, it supports USB-C for computer and smartphones. It sounds great for close miked talking head situations but is not well suited for traditional shotgun use. TRS output is prone to RFI in urban centers, albeit USB-C seems to be highly RFI resistant.
This audio sample was recorded in TwistedWave at 48 kHz and 24-bits with the mic's USB-C output jacked into an iMac.
Accessories
The DR-07XP ships without accessories. Nothin'. Just a bare audio device in a cardboard box. You even have to download the manual. Luckily, most musicians and audio enthusiasts own memory cards, cables, batteries, tripods, and deadcats galore. If you're a novice, you'll need to purchase AA batteries for power, a USB-C cable to upload to your computer, and a microSDXC card to record on.
Deadcat | Deadcats reduce wind noise when recording outdoors.
Deadcat
The most important accessory to own after batteries and a microSD card is a deadcat (furry wind muff). Why? DR-07XP mics are sensitive to wind, mouth air puffs, and plosives, so a deadcat is essential if you record close-mic vocals or outdoors. The official deadcat for the DR-07 series is the giganormous and pricey ($28 USD) Tascam WS-11 Windscreen. Third party deadcats also fit the DR-07XP, e.g., Movo WS-G9 or the YOUSHARES Windscreen for Tascam DR-07X, and are less expensive. I prefer the YouShares due to its small size, albeit only the X/Y mic position is possible.
If you record instruments indoors, you won't need a deadcat or foam windscreen. If you boom the DR-07XP overhead for video streaming, podcasting, etc., a deadcat or pop filter aren't necessary since the mics will be off-frame and 25 or 30 cm from your mouth.
Recording instruments indoors doesn’t require a deadcat or windscreen. Also, if you boom the DR-07XP overhead for video streaming, podcasting,etc., a deadcat or pop filter isn’t necessary since the mics are off-frame and 25-30 cm from your mouth.
Table Top Tripod
For hand-held and desktop recording, I recommend using a tabletop tripod to avoid handling noise and facilitate aiming at your source. A tabletop tripod can also pull double duty as a hand grip. Some, such as the ULANZI MT-73, have telescoping sections and can serve as a short boom arm, hand grip, and tabletop tripod. The Ulanzi MT-73 is used to hold the DR-07XP in the guitar and ukulele videos shared above.
Musings
The DR-07XP, offers significant audio quality and microphone upgrades over my DR-05. Tracks sound wonderful on my studio monitors and headphones. It’s also coat pocket and camera bag friendly. While some features cater to musicians, the DR-07XP is also ideal for video audio in situations appropriate for stereo mics, e.g., ambient sounds and music performances. And the 32-bit float mode is a lifesaver if you forget to set levels or mess up gain staging.
Gotchas
The DR-07XP is a mature product, refined through successive generations of model refreshes. I have few complaints, but there are a couple of minor gotchas with the tripod socket and choice of data storage.
I often use the DR-07XP on a tripod or hand grip, and the plastic tripod socket is a possible point of failure. My workaround is to mount an Arca quick-release plate on the DR-07XP and, thus, avoid wearing the socket threads. Choose a plate small enough to not block the battery door (e.g., Sunwayfoto DP 26B). Of course, tripods need an Arca clamp for this solution (mine all do anyway).
Table Top Tripod & Arca Clamp | A Manfrotto 709B tripod with Arca clamp and quick release plate.
The second gotcha is the microSD storage. I prefer a full-sized SD card for ease of use, but the DR-07XP is cursed with the awkwardly tiny microSD. Extracting the microSD card and inserting it into a card reader is an exercise in frustration, so I upload to my Mac with a USB-C cable. I'd gladly suffer a few millimeters of extra case to house a full-sized SD card.
I'm pleased with this recorder: 32-bit float with gain control (!), intuitive to operate, and much of the audio quality of larger Tascam recorders but at a fraction of the size.
Help support this website by purchasing the DR-07XP at Amazon.
Major Features
20–22 kHz +0/−1 dB (MIC/EXT IN to LINE OUT, 48 kHz, JEITA)
Stereo AB/XY condenser microphones with up to 125dB SPL
Manual gain, auto gain and Peak Reduction ("smart" auto gain)
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What is 32-bit float?
Controls
Connectivity
Analog Input
Analog Line Out
USB-C
MicroSD
Sound Quality
RFI Resistance 
Weight & Size