Is anyone here using a Zoom F6?

[lkingston]

The Zoom F6 looks really interesting to me. Reasons why include:

1) Unclippable 32 bit float recording. No need to set audio levels to get optimal signal to noise. No worries about distortion.

2) I could mount it on the same tripod with my camera.

3) Stand alone and USB audio recording in 2 or 6 channels on Macs, PCs and IOS devices.

4) Sony L battery power. I already use these for my LED lights.

5) Remote Bluetooth control with cool iPad mixer app.

6) Solid rugged metal construction.

7) Very high quality audio

[keith.rogers]

While I have not bought the F6, I've owned 4 Zooms, H2, H6, F8 and F8n, the latter 2 I packed both around for about a year but whittled down to just n this past year as I don't expect to need the backup or 16-bit link capability in the future.

My short answer/opinion is that if you want the quality of recording a *field* recorder has, and this meets your needs, sure, why not? Just do your appropriate comparisons with anything else in the class, as Zoom has really brought some competition into the lower price range that didn't exist before.

So, in order, 1) the floating point no-clip is really the kind of thing you might need in a live, maybe film shoot. There was only one time in a music performance recording where I had clipping, and that was my own inexperience setting initial levels too high, and at the end of the (open mic) night, getting a singer who had a voice that did not really need a mic get right on top of it. Lesson learned. (This was also on my old H6 which had poorer limiter capability than the F8/F8n.) The amount of gain you have on hand is not really different, and the scenarios where it's more important are, as mentioned, filiming and 2nd takes aren't possible when someone shouts their line a bit louder than expected or a door slams over some dialog (can't be punched in) and would cause a re-take. Now, if you are looking at a field recorder as a first buy, sure, it's a consideration. I would not trade "down" from my 8-channel F8n to the F6, because of the channel count, which I used a lot.

2) Tripod mounting, maybe, but they (field recorders, in general) all have that ability, though rarely used - they're typically in a bag on someone's should or in a cart. Anyway, on the same one with the camera? Not so much, Ok, never, because you sometimes do need to tinker with levels, and you probably have a headphone set attached the whole time. How stable do you think your video is going to be with that going on?

3) Lots of options (in this class) for plugging into computers and iOS devices - it's not really an advantage from my perspective.

4) yeah, maybe, especially if you already have those. Depends on how much battery life you need. It's pretty typical to power these things with larger, external packs that can get you through an entire day, but it's a good option - better than 8xAAs in most cases, so long as you don't run out of juice without a spare.

5) I don't know if that's a plus or not - never tried it, but my impression was it's most useful where you've got a fair amount of activity in bringing channels in and out and are also creating a quick mix for end-of-day review, i.e., to make sure everything was captured before sending everything to post. Of course, if it's on a tripod with the camera that would fix the physical jiggling around problem! I'm more hands-on, I guess, but i should try it someday with the F8n before really passing judgement!

6) Nearly everything in this class of device is built for field use, so pretty typical. It only matters if you're really banging stuff around though. I used an H6 for years and never had a problem with it.

7) Again, it's expected in this kind of device. A lot of fuss is made about preamps in some of the higher end products, but the reality is the vast majority of use is in not in real studios, but where the environmental noise probably exceeds any noise floor in the equipment. Even the H series Zooms sound pretty darn good. (See Joshua Turner's earliest videos with the H2!)

[ljguitar]

Originally Posted by lkingston

The Zoom F6 looks really interesting to me.

Hi lk

I have not purchased one…yet. I'm in the process of making decisions/choices for recording for the next couple years.

I used to have a full MOTU (Mark of the Unicorn) studio with 18 inputs, and a pair of tube preamps to 'warm' sounds going into the interfaces. And a full studio room built into our home. I don't plan to dip that deep into the pond for my upcoming projects.

I have done way more live work than recording since I closed the studio (and got rid of the equipment before it went outdated).

I'm doing less live work (because I'm 72 yrs old, not because of the pandemic), and want to re-record some of my acoustic duo songs with my gigging partner, which may demand 3-4 live XLR inputs at once.

I also am going to be recording a series of 3-5 minute video stories from my wife and I for our kids/grandkids (at their request). I don't feel I need a Sound Devices Mix-Pre (serious field recorders), and the Zoom F6 has good enough reviews to be a good choice for my projects. If Zoom were to release a similarly equipped/capable 4 XLR version (or update the F4 to current tech with 32bit float), it would fit my needs far better. I'm giving it a few months. Zoom just released 1 & 2 channel versions for portable lavaliere recording. Seems like a logical choice to bring it to the F4 & F8 units.

Curtis Judd gave the F6 a thorough review (perhaps 3 reviews plus a first-impression video) on YouTube which would be worth checking out. He is a reviewer who gives thorough and honest reviews.

If I were younger and were going to bring in other musicians and record as a serious hobby level, I might make other interface choices. But I honestly think 32bit float is here to stay, and it will make our job as semi-serious recordists easier since we can concentrate on making music more than running gear while making music.

Digital already made our lives easier over tape when it comes to not overdriving signals. 32bit float technology just makes it easier still. With analog we pushed the signal as hot as possible, and digital we already drop back to -12db (I do anyway) and bring the level up in post. The F6 adds to that more AI tools for limiters, and adjustment in post which are not possible without 32bit float.

And the F6 has a lot of serious features, including decent metering and manual knobs/faders to work with. It can adapt easily as a field recorder, or more permanent install.

It is superior quality than using an H-series Zoom recorder (which I own 3 models of), and will sync more easily with my semi-permanent computer rig, as well as do backup recording at the same time while offering a host of battery/supplemental power options.

Please keep us in the loop as you explore and discover…

[RodB]

Maybe Fran Guidry will chime in - I know he has one and has posted some recordings.

I don’t have an F6 but considered it, along with the latest versions of Sound Devices Mixpre field recorder / interface that offer a similar 32-bit floating point technology.

I too concluded that they really come into their own when the dynamic range can not be anticipated or if no set-up time is available.

For home recording this isn’t an issue so I looked at the Zoom F4 and Mixpre 3 or 6 (first generation) that we’re still around at a lower cost. I ended up with a MixPre 3M specifically aimed at musicians.

[DupleMeter]

Originally Posted by lkingston

The Zoom F6 looks really interesting to me. Reasons why include:

1) Unclippable 32 bit float recording. No need to set audio levels to get optimal signal to noise. No worries about distortion.

2) I could mount it on the same tripod with my camera.

3) Stand alone and USB audio recording in 2 or 6 channels on Macs, PCs and IOS devices.

4) Sony L battery power. I already use these for my LED lights.

5) Remote Bluetooth control with cool iPad mixer app.

6) Solid rugged metal construction.

7) Very high quality audio

I used one on a production shoot (it was rented...I don't own it). It was a nice recorder. Pres were better than average, but not what I would want for a full time studio interface. It felt very solid. the controls were a little small/crowded and hard to deal with. It's a solid piece of gear. I only had those 2 complaints about it after a 12 hour day.



A note on the 32-bit float thing. Yes, it's true that you can't clip the signal AFTER the A/D converter, but remember you can still overload your preamp/input stage BEFORE the A/D converter. I felt the whole 32-bit float marketing to be a little gimmiky, because I am not sure the preamp has more headroom than the A/D stage, making it an unlikely scenario that it will save your recording. That said, if you set your input gain properly it isn't an issue. I just wanted to be sure you were aware of the limitations of that feature.


HTH

[lkingston]

Thanks for all your responses. I found some 32 bit float audio files online and played with them a bit. I realize that as cool as the technology is, it would add an extra step to my workflow and not really sound any better than what I’m getting with 24 bit recording. The preamps would be quieter than my Zoom H6, but the only mic I have where this is an issue is my SM7B, and I just use a FetHead on it, so it really doesn’t matter.

I think my main complaint with the H6 is the dual XY mic head which I never use, but I just ordered the dual combo Jack attachment which for me will be more useful.

[keith.rogers]

Originally Posted by lkingston

Thanks for all your responses. I found some 32 bit float audio files online and played with them a bit. I realize that as cool as the technology is, it would add an extra step to my workflow and not really sound any better than what I’m getting with 24 bit recording. The preamps would be quieter than my Zoom H6, but the only mic I have where this is an issue is my SM7B, and I just use a FetHead on it, so it really doesn’t matter.

I think my main complaint with the H6 is the dual XY mic head which I never use, but I just ordered the dual combo Jack attachment which for me will be more useful.

It's possible I may have never used the mic attachment on my H6 - maybe the first couple of weeks, but always used the XLR extension. (I did put the mic capsule on the F8 once to capture room ambience, and that was it.)

I don't think it would be much of an extra step - depends on your DAW perhaps. I always record into a polywave file on the F8[n] and just drop those into the DAW which I suspect would do the conversion to project settings if it didn't natively support 32-bit float. (Logic *still* does not support 32-bit float files, i.e., keep that format intact on import, even though that's how it works internally and can export the mix to that format. One thing that keeps me scratching my head, but I think they'll have to sooner or later.)

[ljguitar]

Hi all
I'm old school having come from multi-track cassette, reel-to-reel, audio interfaces and primitive DAW software, and now where we are 30 years later. I could still record with a reel-to-reel, and I could still shoot with film - just glad I don't have to.

The flexibility of 32bit float technology for quick moving…ever changing situations (like a video shoot) where you are bustling around and may miss a cue now and then (thereby ruining a take) is indisputable.

Major motion pictures are shot this way and then edited in post…

I did audio recording with pro-gear in a studio before 2005 when small digital multi-track, computer interface recorders began to show up.

This newest wave of portable technology is great for people who are not yet up-to-speed, and it's more powerful in the hands of knowledgable recordists.

Most guitar hobbyists just want a small system which produces pro-level recordings to share online or with family/friends with minimal hassle. These small field recorders raise the bar, and lower the budget for pro-level entry.

For today's changing music environment…
A small pro-level unit with 4-6 channels would be perfect for Zoom, FaceBook, YouTube etc. LIVE concerts (and other use). The output choices serve everything from high-end musicians to casual strummers for streaming use.

It also appeals to me (and my wife) to be able to pack all my serious recording gear in half a small closet in the spare bedroom, and to show up for a 'gig' with it in a backpack.

[lkingston]

Originally Posted by RodB

... I ended up with a MixPre 3M specifically aimed at musicians.

How are you liking the MixPre 3M? I’d love to hear what you think of it.

[RodB]

Originally Posted by lkingston

How are you liking the MixPre 3M? I’d love to hear what you think of it.

It has taken over from my Zoom H5 as my home studio recorder I did a direct comparison with my H5 using 2 pairs of the same mics (SDC and LDC on each at the same time), I find the sound more open, detailed, but not dramatically different.

Set-up can be a bit fiddly as the screen is small, by necessity - the recorder is very shallow. It’s also touch screen as well, but a lot of selection is done from the headphone vol control - neat. However the presets available mean that this does not have to be repeated every time. Simple changes like gain are easily done.

My needs are simple compared with what it provides - I never used the mic module of the H5 much anyway for serious recording. I record dry from my 2 mics, and don’t usually multi-track or use the built in effects.

The way I like to record is to separate the tasks of playing and processing the music, I then don’t have to worry about computer set-up, noise etc. Therefore I have only looked at options of recorders not pure interfaces, and at the moment feel I made a good choice. I have only recorded on a couple of occasions this year, this is the latest:

[lkingston]

Originally Posted by RodB

The way I like to record is to separate the tasks of playing and processing the music, I then don’t have to worry about computer set-up, noise etc.

That is the method I've settled on as well.