I don't know if you rehearse/script your dialog, but goddamn do you appear to flawlessly spout such indepth, consise and well written/spoken insight and understanding about your subject. It's so good, I always learn something from your videos and secretly wish I could sound so knowledgable.
Did making this video hurt your brain as much as it did for me to watch? I had to view it 4x just to consume everything you said. Thanks for all the detail and hard work you always put in!
When there's something video related that I don't know, or need to understand, Gerald Undone's a straight shooter for me, I've never been let down once. The downside of this is that sometimes he upshifts to Nerd Warp acceleration mode and things then become arduous.
Thanks Gerald - nice coverage! I'm sticking with a dedicated audio interface for myself. But for many, sharing the device for both field recording and computer interface is totally workable. I'd probably go for the F4 instead of the F6, though, since the F4 has balanced outputs at the cost of a larger/heavier unit with a mediocre screen.
Would you gentleman recommend the f4, f6 or mix pre 3 ii? Use case is interview work with an EOS R and rode wireless go lav setup. Thanks in advance, love each of your work 👍🏽👍🏽
@@satsahota1765 Yes, all of them would work well for that use case. Perhaps the F4 would be my preference since it has automix capability plus balanced outputs and better spaced/sized controls.
@Curtis Judd @Gerald Undone are you able to utilize the usb interface for live audio output? And utilize software(ie Pro-logic) to mix and monitor?
@@satsahota1765 I just got the F6 and used a wireless mic system. I noticed if I use a self powered mic system it has it's own noise which is much greater than the F6. For a very pure sound try to use a mic that doesn't have added gain like a wireless system, or like a Rode Videomic NTG.
8:58 This bit is what sets you apart from all other reviewers. I cannot even think of a way to find out what the problem could have been, and yet again you found out and came with a solution. You are something else!!!
Welcome Gerald to the Zoom F Series family! When the original Zoom F8 was first released it was a massive GAME CHANGER for the location sound world! Arguably nearly comparable to what happened when Nikon D90 came out and turned the camera world upside down. (but nobody appreciates the magnitude of this, because sound gets ignored....) I reckon everyone who even slightly cares about audio should get at least the Zoom F4 / F6, they're such a massive massive improvement over anything cheaper than those. Or go for the Zoom F8n instead if you're taking it slightly more semi seriously. Spending more (such as for the Sound Devices 833, which I own myself, a fantastic recorder! Arguably the "best" small form factor baggable field recorder on the planet) is only worthwhile if you're working at this full time. Interesting note about the F6 timecode vs BMPCC4K, as the Tentacles send TC/scratch over L/R stereo (L=TC, scratch=R). Seems weird that Zoom didn't embrace doing it the same way as Tentacles, as they're the only other ones which send TC over stereo @ mic level.
Im kind of blown away by how thorough this video is, and also realised that mh hnit did not come with batteries. Perhaps only certain countries get them. Thanks. Excellent
Ive always had dedicated audio recorders, starting with cassette tape recorders, and Ive kept that up until recently. My kits are based around a Zoom F8, and two handheld's. I like dedicated tools for the job, but recently I heard about the Mixerface from CEntrance, which is basically a battery powered USB XLR dual channel premium analogue pre-amp, with built in recorder. In of itself the recordings are fixed at 24/48kHz which I isnt the 24/192 that I prefer to use on the other recorders. However, because its an analogue preamp with a USB out, you can record into a computer at whatever resolution you like. You can also record onto a phone with an app that allows recording from external mics, something like TwistedWave or Ferrite and you basically have epic capability in your pocket. I love it because its a metal box with no screens or displays. Its super simple, and the recordings I've made with it are as good or better than my other recorders. Its small, compact and my binaural field kit with mics setup in ORTF, everything fits in a small case.
Thanks Gerald, F6 it is for me… I need another audio recorder after my pro tools setup for TH-cam … I wish I could use just one interface but having a second to just record my continuous vocal while starting and stopping pro tools is a must:)
Perhaps suggest getting a 2-channel passive direct box to go from unbalanced out on the Zoom to balanced in on your studio monitors. If the noise you mentioned is induced environmentally to the unbalanced cable run, then this should help a bit; just keep the unbalanced Y cable the shorter of the two. Thanks for making such awesome content!
Hey Gerald, here is a tip: In the Routing screen, if you hold down the PFL button WHILE pressing the Left/Right buttons, they will move the selection UP/DOWN. This makes faster navigation.
Incredible level of information! So useful and very much appreciated. You’ve answered all my questions and many I never even knew to ask! But how the hell do you retain all this in your head? You’re a genuine phenomenon, Gerald Undone!
I think the perfect example of consolidating devices is the smart phone. I use my Tascam DR10-L like it’s a gift from the Gods. And my camera only uses one lens, the 24-105 f4 from Canon. I guess I’m all about making gear do as much as it can before adding more equipment to keep track of.
I'd say a combination of both. If it's not going to move, get something specific, if it's for the field, one or two options could work. I have a Zoom F1 for most of my field recording, but I also got a Zoom H6 for heavier duty stuff, which is currently being used on my computer as an interface. Eventually that will get replaced with a dedicated board for audio. One device to do it all isn't always going to work, but a few will cover most all bases.
By biggest issue is that the bottom mount is in a flexible plastic spot on the body. The marketing material claims an aluminum chassis, but not so on the underside. I can't mount even a small mirrorless camera without a bunch of bobbling, flexing and worrying it will damage the recorder at some point. It also doesn't have enough clearance for my manfrotto fluid head. And honestly barely enough for my acratech Arca-Swiss style plate/clamp on my ballhead. I will be making a plate to reinforce the bottom and to boost it so I can attach it to a tripod without having the strap rails from resting on tightening knobs for the base plate. (That also causes it to flex and not sit level). This one issue seems like it wasn't tested before going it was cleared to go to market. Everything else is pretty darn impressive though. Luckily for me, one of my TH-cam channels is centered around CNC machining technology. I have the ability to fix it using a CNC machines. But most do not. Maybe I'll send you a copy of the booster plate once I am done making a few.
I use the glidecam ultrashot for 90% of my camera rig needs. It's an obscure product that never really caught on, but I love that it works as a shoulder rig, stabilizer, monopod, hi-hat and even for jib type shots. For certain situations I use a tripod and slider, but if I'm only bringing one support system to a shoot it's the ultrashot.
All makes sense. I've used F8 and somehow have enjoyed the menu features and signal routing over the 788. It is idiot proof in a way. According to F6 I have been wondering about soundbag compatibility, but Mr. Judd answers that question already. So - thanks for the details! Great work!
I own a LOT of Zoom gear myself (1xF4, 3x F1, 1x H6 & 1x H4n) so I’m pretty comfortable with their layouts. I’m looking forward to picking up an F6. I did a video on the F1 units in Tokyo myself back in January. What I found hard about your video was that you went sooooo fast that even me as a user of Zoom gear got lost. I get you wanted to keep the overall time down, but if you had of slowed down your delivery by even 10% it would have been easier to keep up. That said, you seriously know what’s up with the equipment so I’m not knocking you. Just please slow down a touch to make it easier to process your fantastic insights. Peace ✌️
I definitely appreciate devices that can do a whole lot of things and replaces dedicated devices that complicate things. Case in point: A friend and I used to do podcasting. We had a TASCAM field recorder, a 4-mic mixer, and a headphone breakout box splitter so that everyone could hear the output. Then RODE goes and creates the RODEcaster Pro. This does everything our three components did and much more, with podcasting studios in mind. And at $600, it wasn't much more expensive than all the components and cabling we had to purchase to get everything working. I own the F6 for a couple of reasons. I record multiple input gaming sessions where everyone is mic'd. For years, I was using a TASCAM DR-70D and a DR-60D together when I had more than 4 voices (most of the time). And even when I was using the same recording settings on both devices (24bit and 48kHz), I would get drift between the two. It was slight. So slight it drove me nuts. I'm talking about .04 seconds per hour recording. No big deal, you think. Except that you could hear one person on one box in the mic of another person on the other box and everyone started sounding like they're in a bathroom. Since these recordings would sometimes go for up to 2 and 1/2 hours, it would get very noticeable. Easy to fix, but the other problem with TASCAM is that they have no safety recording. If the power goes after recording for 2 hours and 15 mintues, you lose THE ENTIRE AUDIO FILES. So the F6 solves these problems and also helps for my short film work where there's no such thing as clipping any more. Or recording too soft and wrecking it with a noise floor. I love the little thing, but your analysis of how to get it to do things flew about 35,000 feet above my head. I'm more of a camera guy. Sound is just a foreign language to me. Great video though. I'll have to watch it a few more times to understand all that stuff you were doing in the menus.
Sorry if someone else has proposed this solution for your audio drift issue: PluralEyes by Red Giant is AMAZING at syncing footage w/audio and auto fixes any audio drift. Huge time saver to boot all the way around. Well worth it. - Since you edit with Resolve you'd just import the .xml file PluralEyes gives you.
Gerald - the company that changed the game for me in the audio recording and studio gear space is Metric Halo. Not specifically a replacement for the device you reviewed here - it's rack mountable and different use cases. If you need a swiss army audio interface in the studio and want to know that next year they won't replace your gear with new gear and leave you behind + offer an unbelievable performance:cost ratio, check them out. Ex. 15 years after purchasing a 2882 model they released a FPGA digital hardware upgrade to the device. 15 years still supporting the same hardware with DSP processing upgrades.Internal mastering level plugins using the FPGA with complete audio routing and digital effects drag/drop canvas, internal 80bit mixer, and the list goes on. Hands down the single best purchase in the studio ever. I don't work for them :)
You mentioned that this accepts line level inputs, but unlike your explanation of the outputs, you did not specify if the inputs will accept +4dB or just -10dB line level. I have avoided the otherwise handy and affordable Zoom H4n due clipping problems when being fed a pro line level, as I sometimes want to record audio from pro mixers. Thank you for your detailed review. This is the most info I could possibly get on this product in under 11.5 minutes.
My cousin just told me about the F6 and sent me this link. I really like what I saw! I'll take the chance with a one-stop-shop device like this. Thanks for the video!
I setup a VHS player to act as a sound splitter for DVD, digital TV, VHS, audio cassette, LP, and laptop netflix all to a 1970's TV with zero input control. I set the TV to always be aux, the inputs in the VCR to line inputs, and the laptop audio to a RGB to analog converter with headphone jack to be boosted by the pre-amp. You can now watch netflix on a 1970's TV with clear audio to large preamp speakers.
This is dream team gear for me. Period. The 32bit float magic. (I know other tools can do this as well) Zoom has yet to really let me down. Great stuff as always, Gerald. Cheers.
Thank you for the video. This review like all of your others was informative as well as useful. I can live with something that does a very good job with many things instead of carrying many things that do a great job. Another great video. 100K by the end of Nov.
As an audio amateur, I find you go into so many details so fast that I cannot fully appreciate whether this unit is useful or not. What I retain from your video is that for musicians this is not very useful by itself, but needs an audio interface that can recognize and process instrument signals directly (guitars, keyboards).
If you want better quality output, you can go from the unbalanced 3.5mm to a stereo DI box (Whirlwind PCDI, Radial Engineering Trim Two or ProAV2 or Stereo JDI). Naturally you'd want the cable from the F6 to the DI to be short and then use XLR to your monitors.
Something isn't right... I have notifications on but I didn't get a notification... Thankfully I saw this in my recommended! Anywho, potenial video intro: "I'd rather have my city burned down than hand over my pistachios" (One of my teachers said this in my literature class)
Working with Kasey for a short time must have inspired you to continue with your high technical excellence with a tremendous amount of information in a short period of viewing time! Great video on the F6 and I'm not even in the market to buy one, since I have an MixPre3. I just wanted to see how you liked it. You and Kasey are on opposite ends of the TH-cam spectrum, and I am glad you are both doing what you do, and I love they ways each of you run your channels.
Maybe someone already said this but, unbalanced outputs are fine for noise performance. Balanced cables sometimes allow a signal to 6db hotter, but other than that shouldn’t really make any difference in this case. The telling thing here is when you said adapting to balanced cables helped noise performance. That implies you are plugging into a balanced input that needs to be adapted specifically. Some balanced connections want pin 3 floated, others want it grounded. As for the drift you are still seeing on the time code locked audio, I suspect that is due to your adapter solution. Shorting two channels together like that affects the output amplifier and it’s anyone’s guess what that yields in this circuit, but I think one symptom has been found. The real solution here is a crossover, or polarity flip cable. Just a short cable with the pins cross connected. Check out Redco Audio for audio cables. They will make you anything you need to custom spec, at higher quality, and it will usually be cheaper. Try using the custom cable page for the bmpcc4k xlr adapter cable. Way cheaper. Studio engineers have been using red o for years.
Great in-depth review. I bought the F6, but ended up passing it on to a friend and bought the MixPre 6ii. Would love to hear your comments about that range!
The way you described that last question about multiple devices vs one with accessories/tweaks sounds exactly like the debate between a rigged up small camera vs an fs7 c200 style camera. I fully understand that appeal when it comes to price, but I often think the drawbacks outweigh the benefits of rigging up small cameras to do bigger jobs. The bmpcc 4K/6k and zcam seem extremely close but sometimes SDI or balanced outputs are must haves.
I think it's fair to say Zoom designed the F6 with Filmmakers in mind rather than musicians, which of you're a Location Sound Recordist like me...is a very nice thing
The audio drift might have something to do with the CMOS in your computer. Try to reset or change the CMOS battery. Or, try to record on a different computer to see if the issue persists. I know this video is several years old, but just in case anyone is having similar issues.
I travel quite a bit and often have to carry everything in a backpack or a pelican 1510. I always prefer one device that does several things, even if adapters are needed. The F6 is high on my want list because of its versatility.
It can’t by its nature be everything to all people or, by extension, all recording situations. So it’s primary function is as a field recorder and the form factor is so it tucks in nicely under various cameras without being too unwieldy on the tripod. The unbalanced output is a bit of a phoopah in my opinion though. They could have added that fairly easily and would have made direct preamp use so much better. Well, they have to leave something to upgrade on the next iteration right? That and the timecode assignment I guess.
Hay friend. I just bought 1 off a friend. Yes I too like the sound of the F6 for multitracks and stems. I can't talk about other interfaces as I haven't heard many but compaired to the other H recorders I have everything you said is true. The H recorders though I found a bit brighter and harsher. But the F6 is studio sounding. I'm blind as is the friend I bought it from but as the app has lots of the functions to it we can once paired pretty much use the F6. Same from what I understand goes for the F8N Pro. I'm surprised at the record quality of these recorders. It's like the good old trusty Sound-Devices 744-T $4000 recorder.
The only consolidated device I can think of off hand is my cable modem router combo. The major drawback is that the cable company is the one that controls firmware updates. other than that it works alright. The first time I saw the previews on the Zoom F6 I was wowed (I don't know a ton about audio). That float recording with backup would be amazing. I've tried putting a Zoom H1 between my camera and mic but get an offset between what the Zoom records and what the camera records, which isn't ideal so I don't bother. Right now just pushing to the camera seems sufficient for what I do, but eventually something like a F6 would be nice.
Gerald, great work around. I didn’t know the F6 was that configurable in the settings menu (and I’ve owned it for 6 months now). You’re crazy smart. Oh, also glad you got a haircut lol
I think it's great you've made it into a great hack solution for your one fits all needs! I'm all for re-purposing equipment in every way possible. I rarely have criticism of your videos - I love all your in-depth and amazing analysis of products and gear. However, I think it's fair to say I was hoping you'd talk about the experience of using it on a set, and in conjunction with a camera (or even a separate operator for it as well). Regardless, I'm extremely thankful for the content you put out, and thank you for sharing your thoughts! Keep rocking!
I hear that. I figured I'd leave that to the location sound experts and focus more on the computer stuff that I'm into. Hopefully once all the videos are out, mine will offer useful, but different information. I try my best with audio, but I'm definitely not as experienced in the field with it as other channels.
@@geraldundone Great outlook on it. I only suggest what I do because I know you'll put an great deal of thought and analysis on your feelings about it before sharing it (in great detail, no less). Again, still love the content!
I’m all for consolidating and simplifying these days - so tired of hauling multiple cases! The zoom F6 is a big part of this - and I no longer need to wear a vest to support my sound bag because the F6 is so light! Simplicity! Yay!
My experience is that I'm new to recording. Learning as I go with the hope that I find the right equipment to record live music, play live through, possible pod casts, live stream. I thought I'd start with a mixer/interface and bought a Soundcraft 12fx notepad. I'm so new to all this I can't wrap my head around this thing and apparently it doesn't send any fx, EQ settings I established on the mixer to the DAW. It sends it as one track. I thought it would be my "one in all" but more so in theory. A friend of mine who is a professional sound engineer thought the Soundcraft was too limiting. He uses the Zoom F6 and recommended I look at, so here I am. I'm still on the fence but badly hope to find that "all in one item", I don t know if this is it or not. Going to research more or I just give in and buy a separate interface, a small mixer for live stuff, and my loop pedal. I don't get why most interfaces at entry level are just two inputs, I need three or four at least. Why I sort of warmed up to the Zoom F6. So for recording instruments you can't plug straight in, you gotta run a mic to a speaker and record, I'm so new to all this obviously. Feeling a tad over my head but learning as I go. Thanks for a great review.
Hmmm the F4 has two balanced XLR outputs and the inputs are XLR as well as 1/4 inch. But it doesn't have the 32-bit float which looks sweet! I've run a folk club for years and I have used many different Zoom products and have always loved the sound quality I get from the preamps.
Outstanding review and info. I've just unboxed mine and I'm really excited for my upcoming trials and productions with it. I really hope someone at Zoom sees this video and implements your suggestion on the firmware update to allow customization of the timecode routing, as I have the same problem synchronizing my Video Devices PIX-E5H.
That audiodrift is something that is usually not the interfaces fault. This happens everytime to some degree when 2 sources are recorded with their own clock. Only thing that could prevent this is a stable timecode between the camera and the Zoom F6 for example. You could also try to feed the Audio Interfaces Signal back into your camera while shooting. This way you would have everything in sync although there might be considerably worse audio fidelity since you are going thorugh another DA/AD and Camera Audio (even line level) is never as good. There is the Tascam 701D Recorder that has an HDMI in that you should be able to sync through while recording Your MIC Signal at the same time.
Monitoring, midi, digital, word clock, surround. Depends what your doing. I Have used the f4 as in interface out and about for picking up voice over where people need to see picture and it does the job fine short of critical listening ... , though you can always go through an amp. Can’t remember what it was like for mixing direct input monitoring and playback. If you don’t have an interface, then it’ll be fine because you’re not missing any of the features you won’t have and the pres will be probably better than a lot of the Lower end interfaces because that’s where their focus is.
F6 is designed for pro, but outputs are home audio output; surprising. I face problem with all Zoom mixers and recorder. There are something lacking in them, always. But I love all Zoom Recorders. I am with zoom for its recorders.
I've been looking at the F6 since I saw a review on it a few months ago and now I really want to add this. I'm in a small space, so the all in one solution is something I'm a huge fan of. I currently use the Zoom H4N pro to record audio for my tutorials. It allows me to record to my camera and my computer at the same time, but I lose the ability to also run headphones out of it. The F6 would definitely be a step up for me.
Well it let you drop audio drift sync steps and let you do everything else worry free. So it technically does everything :P A real good tool indeed and sure beats the bird nest of wires to mulitple devices. Thanks Gerald. You found another gem for the studio.
Hi Gerald I'm looking into recorders and have narrowed my choice down to F6 or H6. I mostly shoot interviews with a Rode NTG. I notice you're currently using the F6 yourself. Assuming you'd recommend it over the H6 then but it depends on what I'm using it for?
I use a breakout cable by hosa stereo male to dual mono female and it worked perfectly However on my breakout recording I had some issues with the Bluetooth app that crashed the recorder briefly and had to record the second half of the show with out it A few firmware tweaks. I was on the fence with the new mix pre but 1000 for 4 channels versus 650 for 6 sold me. Nice unit and I like your tweaks keep up the good work. This was with the bmp 4K by the way
Hi Gerald from your review and other one done by Curtis Judd I feel that is not targeting musicians, it is very handy for the one chance recordings such as TV and Cinema productions which explains the neutral way it sounds No consideration for home recorders or studio ones which I can understand are we trying to find the impossible device that does it all as your fried of camera conspiracies ? I think I will wait for the 2nd gen or better option especially the sample rate is 192 kHz even for the Scarlet 2i2 while this one is restricted to 48 kHz If i earned money from TV field recording I'd definitely buy this but I will still have a dedicated music audio interface home Greetings for your good work, as usual !
I often see people on TH-cam looking for a camera that can do both stills and video/vlogging and it seems to me that it's generally much cheaper and easier to get separate devices for those things.
Would it make any sense to get this unit for VO so that I could record whereever I want (my closet for instance) without having to deal with my PC fan noise or it's an overkill? Or maybe should I wait for the updated units that Zoom is putting out? Thank you for the great video!
Thank you for a great user overview and work-arounds. I use the F4 and F8, and the BMPCC and Tentacles. The F6 and 32bit recording is tempting as an addition, but not in its current I/O configuration. The 32bit tech will certainly spread across more equipment, and the SW platforms need to catch up as well!
So looks like the Zoom F6 has a bad USB related bug that I recently discovered - in USB Stereo Mix Mode, the audio signal from the recorder will drop in pitch and even delay by a half to 1 second when listening to it on the PC. I've been using it to stream on Twitch over the past few weeks and it does this at least once on every stream which requires me to exit USB mode and re-enable it on the recorder. I've tried different USB 3.0 ports with no change as well as updated the FW to 1.3. Next I need to rule out using Streamlabs OBS, my USB-C cable, and try different XLR mics from the equation. If those aren't it then I'll be contacting Zoom about it.
As usual, I'll give my view on it -before- after watching the video: The F6 can't make my coffee, or calm my wife down when I buy 4000$ camera equipment... so NO, it can't do everything (at least, everything I need) ! Don't buy it! :O :) I'm probably divided when it comes to the great question ( Single Do-it-All VS several Dedicated ), as it depends on many criterias, including: - Market: are All-in-1 as good as Dedicated when it comes to... Audio / Video / Cooking / Robbing the Bank / Whatever ? - My Needs & the Exigence that come with it : to Rob the Bank, can I rely on half-working guns, just bc they can fill the bags with money, make the coffee (finally), take the phone number of the nice girl who was secretly impressed, open the locked doors, & call Siri to set up the GPS once we get back in the car? I don't think so! ( Maybe I digress a little, but... YOU GOT THE POINT, right? :D ) - The context / circumstances : it could actually be part of the previous point, but sometimes this one varies. You may have the needs of max perf & features → go for Dedicated, while, this time, you will deal with poor weather, & most of your gear is not IP , & you'll have to move a lot +, & you fear + than usual your stuff could get stolen, so you'd better have in on yourself rather than letting the recorder at the other half of the land... etc Most of the time, I prefer All-In-1 if it's perf & featured enough (like.. smartphones cameras when not a pro), known as reliable, affordable (i.e. not a lot $$$er than dedicated for = perf), really + compact, & that I concluded I could use it as intended while not being pissed off (like smartphones cameras tend to fall apart in low light => if I use it in well lit composition, it'll be fine). For the sectors in which my exigence goes up, cause it (perf, specific features, etc...) really matters, I'll invest in Dedicated. Which I did for Audio REC (400$ Microphone + AI ), Audiophilia (well, still broke, so... xD But dedicated DAC+Amp , & best Headphones I could reasonably afford; right now: DragonFly Red + DT1990 ) , & ... Robbing the Bank (Did I mention I was broke yet? Haha, no correlation of c ! ) !
Another outstanding video! This was a lot different tools 🛠 😂 I’ve noticed this in a few other products from zoom. I love the H6 directly into my a7III and a6400 with RODE NTG3 and 4+.
Hey Gerald, I just preordered the Zoom L-8 as a desktop (one device catches all) kind of setup. It also has the capability to record the audio out from your computer via USB directly onto the SD card, so it’s an interesting option for me as a music production TH-cam creator using my computer audio in my videos. It’s always been a challenge to record the computer on a device separately from the DAW and separately from my voice mic. You might find this piece of equipment interesting for your workflow or at least as a unique thing to make a video about. The Zoom L-8 also has many inputs and outputs that are lacking in the F6. Although it doesn’t do 32bit float or time code unfortunately.
Let me say this, as a guy who has been playing guitar for years. Never ever plug your guitar straight into your recorder. You want to have your guitar and effects go through your amp, that gives you most of your tone. Mic your amp and then record the amp with a mic that uses XLR.
Marcelo Moyano I hear that the Sound Devices Mix Pre Series has better pre amps than Zoom’s. But don’t quote me on that-it’d be worth looking into more.
Hi Gerald so I have watched your review on the Zoom F6 and the Sony XLR-K3M , I pretty much just do two channel audio right into the camera, would I get better quality using the XLR-K3m digitally or use the F6 going into the camera using the 1/8" cable?
'love your channel! I wondering, can I just take the 3.5 mm TC out and route it externally to an XLR input with the appropriate cables/adapters, then select that thus routed TC signal along with a selected track as scratch audio to the camera. So the camera would itself be recording the TC on one channel and scratch audio on the other. This would save the cost of a Tentacle Sync E for my Panasonic G85. (Of course I could just use the 3.5 mm TC out to one side and and half of the line out to the other, using adapters going into the camera - closer to what you described, but adding the scratch audio)
2 people need firmware updates
BLiu1 Make that 4 ;)
BLiu1 Make it 5
Make that 36
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I don't know if you rehearse/script your dialog, but goddamn do you appear to flawlessly spout such indepth, consise and well written/spoken insight and understanding about your subject. It's so good, I always learn something from your videos and secretly wish I could sound so knowledgable.
Did making this video hurt your brain as much as it did for me to watch? I had to view it 4x just to consume everything you said. Thanks for all the detail and hard work you always put in!
When there's something video related that I don't know, or need to understand, Gerald Undone's a straight shooter for me, I've never been let down once. The downside of this is that sometimes he upshifts to Nerd Warp acceleration mode and things then become arduous.
Thanks Gerald - nice coverage! I'm sticking with a dedicated audio interface for myself. But for many, sharing the device for both field recording and computer interface is totally workable. I'd probably go for the F4 instead of the F6, though, since the F4 has balanced outputs at the cost of a larger/heavier unit with a mediocre screen.
Cheers, Curtis!
Would you gentleman recommend the f4, f6 or mix pre 3 ii? Use case is interview work with an EOS R and rode wireless go lav setup. Thanks in advance, love each of your work 👍🏽👍🏽
@@satsahota1765 Yes, all of them would work well for that use case. Perhaps the F4 would be my preference since it has automix capability plus balanced outputs and better spaced/sized controls.
@Curtis Judd @Gerald Undone are you able to utilize the usb interface for live audio output? And utilize software(ie Pro-logic) to mix and monitor?
@@satsahota1765 I just got the F6 and used a wireless mic system. I noticed if I use a self powered mic system it has it's own noise which is much greater than the F6. For a very pure sound try to use a mic that doesn't have added gain like a wireless system, or like a Rode Videomic NTG.
I enjoy your content more than anyone else (even when I really don't have any idea what you're talking about).
8:58 This bit is what sets you apart from all other reviewers. I cannot even think of a way to find out what the problem could have been, and yet again you found out and came with a solution. You are something else!!!
Welcome Gerald to the Zoom F Series family!
When the original Zoom F8 was first released it was a massive GAME CHANGER for the location sound world!
Arguably nearly comparable to what happened when Nikon D90 came out and turned the camera world upside down. (but nobody appreciates the magnitude of this, because sound gets ignored....)
I reckon everyone who even slightly cares about audio should get at least the Zoom F4 / F6, they're such a massive massive improvement over anything cheaper than those. Or go for the Zoom F8n instead if you're taking it slightly more semi seriously.
Spending more (such as for the Sound Devices 833, which I own myself, a fantastic recorder! Arguably the "best" small form factor baggable field recorder on the planet) is only worthwhile if you're working at this full time.
Interesting note about the F6 timecode vs BMPCC4K, as the Tentacles send TC/scratch over L/R stereo (L=TC, scratch=R). Seems weird that Zoom didn't embrace doing it the same way as Tentacles, as they're the only other ones which send TC over stereo @ mic level.
This is the best video for the f6 I've seen so far! Got mine for film production and music production. This video made me realized potential.
Thanks!
Im kind of blown away by how thorough this video is, and also realised that mh hnit did not come with batteries. Perhaps only certain countries get them. Thanks. Excellent
Ive always had dedicated audio recorders, starting with cassette tape recorders, and Ive kept that up until recently. My kits are based around a Zoom F8, and two handheld's. I like dedicated tools for the job, but recently I heard about the Mixerface from CEntrance, which is basically a battery powered USB XLR dual channel premium analogue pre-amp, with built in recorder. In of itself the recordings are fixed at 24/48kHz which I isnt the 24/192 that I prefer to use on the other recorders. However, because its an analogue preamp with a USB out, you can record into a computer at whatever resolution you like. You can also record onto a phone with an app that allows recording from external mics, something like TwistedWave or Ferrite and you basically have epic capability in your pocket. I love it because its a metal box with no screens or displays. Its super simple, and the recordings I've made with it are as good or better than my other recorders. Its small, compact and my binaural field kit with mics setup in ORTF, everything fits in a small case.
Honestly, the amount of knowledge you have is insane. Thank you for all of these videos
I gave a thumbs up even though I barely understood anything you said! I like how you really dig in and give very thorough explanations! 👍
Thanks Gerald, F6 it is for me… I need another audio recorder after my pro tools setup for TH-cam … I wish I could use just one interface but having a second to just record my continuous vocal while starting and stopping pro tools is a must:)
Perhaps suggest getting a 2-channel passive direct box to go from unbalanced out on the Zoom to balanced in on your studio monitors. If the noise you mentioned is induced environmentally to the unbalanced cable run, then this should help a bit; just keep the unbalanced Y cable the shorter of the two.
Thanks for making such awesome content!
Hey Gerald, here is a tip: In the Routing screen, if you hold down the PFL button WHILE pressing the Left/Right buttons, they will move the selection UP/DOWN. This makes faster navigation.
Oooh, nice! Thanks for this one.
Incredible level of information! So useful and very much appreciated. You’ve answered all my questions and many I never even knew to ask! But how the hell do you retain all this in your head? You’re a genuine phenomenon, Gerald Undone!
I think the perfect example of consolidating devices is the smart phone. I use my Tascam DR10-L like it’s a gift from the Gods. And my camera only uses one lens, the 24-105 f4 from Canon. I guess I’m all about making gear do as much as it can before adding more equipment to keep track of.
I'd say a combination of both. If it's not going to move, get something specific, if it's for the field, one or two options could work. I have a Zoom F1 for most of my field recording, but I also got a Zoom H6 for heavier duty stuff, which is currently being used on my computer as an interface. Eventually that will get replaced with a dedicated board for audio. One device to do it all isn't always going to work, but a few will cover most all bases.
By biggest issue is that the bottom mount is in a flexible plastic spot on the body. The marketing material claims an aluminum chassis, but not so on the underside. I can't mount even a small mirrorless camera without a bunch of bobbling, flexing and worrying it will damage the recorder at some point. It also doesn't have enough clearance for my manfrotto fluid head. And honestly barely enough for my acratech Arca-Swiss style plate/clamp on my ballhead.
I will be making a plate to reinforce the bottom and to boost it so I can attach it to a tripod without having the strap rails from resting on tightening knobs for the base plate. (That also causes it to flex and not sit level).
This one issue seems like it wasn't tested before going it was cleared to go to market. Everything else is pretty darn impressive though. Luckily for me, one of my TH-cam channels is centered around CNC machining technology. I have the ability to fix it using a CNC machines. But most do not. Maybe I'll send you a copy of the booster plate once I am done making a few.
With all those details about timecode and menu tweaks... it is, once again, a great video !
Thank you.
I use the glidecam ultrashot for 90% of my camera rig needs. It's an obscure product that never really caught on, but I love that it works as a shoulder rig, stabilizer, monopod, hi-hat and even for jib type shots. For certain situations I use a tripod and slider, but if I'm only bringing one support system to a shoot it's the ultrashot.
All makes sense. I've used F8 and somehow have enjoyed the menu features and signal routing over the 788. It is idiot proof in a way. According to F6 I have been wondering about soundbag compatibility, but Mr. Judd answers that question already.
So - thanks for the details! Great work!
I own a LOT of Zoom gear myself (1xF4, 3x F1, 1x H6 & 1x H4n) so I’m pretty comfortable with their layouts. I’m looking forward to picking up an F6. I did a video on the F1 units in Tokyo myself back in January. What I found hard about your video was that you went sooooo fast that even me as a user of Zoom gear got lost. I get you wanted to keep the overall time down, but if you had of slowed down your delivery by even 10% it would have been easier to keep up. That said, you seriously know what’s up with the equipment so I’m not knocking you. Just please slow down a touch to make it easier to process your fantastic insights.
Peace ✌️
Why not slow down playback on YT
Camera Conspiracies brought me over, thanks for helping our little buddy Kasey. New subscriber.
I definitely appreciate devices that can do a whole lot of things and replaces dedicated devices that complicate things. Case in point: A friend and I used to do podcasting. We had a TASCAM field recorder, a 4-mic mixer, and a headphone breakout box splitter so that everyone could hear the output. Then RODE goes and creates the RODEcaster Pro. This does everything our three components did and much more, with podcasting studios in mind. And at $600, it wasn't much more expensive than all the components and cabling we had to purchase to get everything working.
I own the F6 for a couple of reasons. I record multiple input gaming sessions where everyone is mic'd. For years, I was using a TASCAM DR-70D and a DR-60D together when I had more than 4 voices (most of the time). And even when I was using the same recording settings on both devices (24bit and 48kHz), I would get drift between the two. It was slight. So slight it drove me nuts. I'm talking about .04 seconds per hour recording. No big deal, you think. Except that you could hear one person on one box in the mic of another person on the other box and everyone started sounding like they're in a bathroom. Since these recordings would sometimes go for up to 2 and 1/2 hours, it would get very noticeable. Easy to fix, but the other problem with TASCAM is that they have no safety recording. If the power goes after recording for 2 hours and 15 mintues, you lose THE ENTIRE AUDIO FILES.
So the F6 solves these problems and also helps for my short film work where there's no such thing as clipping any more. Or recording too soft and wrecking it with a noise floor. I love the little thing, but your analysis of how to get it to do things flew about 35,000 feet above my head. I'm more of a camera guy. Sound is just a foreign language to me.
Great video though. I'll have to watch it a few more times to understand all that stuff you were doing in the menus.
Sorry if someone else has proposed this solution for your audio drift issue: PluralEyes by Red Giant is AMAZING at syncing footage w/audio and auto fixes any audio drift. Huge time saver to boot all the way around. Well worth it. - Since you edit with Resolve you'd just import the .xml file PluralEyes gives you.
Gerald - the company that changed the game for me in the audio recording and studio gear space is Metric Halo. Not specifically a replacement for the device you reviewed here - it's rack mountable and different use cases. If you need a swiss army audio interface in the studio and want to know that next year they won't replace your gear with new gear and leave you behind + offer an unbelievable performance:cost ratio, check them out. Ex. 15 years after purchasing a 2882 model they released a FPGA digital hardware upgrade to the device. 15 years still supporting the same hardware with DSP processing upgrades.Internal mastering level plugins using the FPGA with complete audio routing and digital effects drag/drop canvas, internal 80bit mixer, and the list goes on. Hands down the single best purchase in the studio ever. I don't work for them :)
You mentioned that this accepts line level inputs, but unlike your explanation of the outputs, you did not specify if the inputs will accept +4dB or just -10dB line level. I have avoided the otherwise handy and affordable Zoom H4n due clipping problems when being fed a pro line level, as I sometimes want to record audio from pro mixers. Thank you for your detailed review. This is the most info I could possibly get on this product in under 11.5 minutes.
I understood about the same percentage of this video as your audio drift
🤣🤣🤣👍
And, like me, watched it in its entirety.
His voice just lulled me away to oblivion
+1 🤣
was going to get this anyway but you definitely came right on time with the TIPS & TRICKS
I really like the image you are getting out of the pocket4K.
My cousin just told me about the F6 and sent me this link. I really like what I saw! I'll take the chance with a one-stop-shop device like this. Thanks for the video!
The time code and pocket 4k bit is amazing. Thank you. Always fun to go back and watch your long hair videos.
I setup a VHS player to act as a sound splitter for DVD, digital TV, VHS, audio cassette, LP, and laptop netflix all to a 1970's TV with zero input control.
I set the TV to always be aux, the inputs in the VCR to line inputs, and the laptop audio to a RGB to analog converter with headphone jack to be boosted by the pre-amp.
You can now watch netflix on a 1970's TV with clear audio to large preamp speakers.
Haha. That's awesome! Thanks for sharing.
This is dream team gear for me. Period. The 32bit float magic. (I know other tools can do this as well) Zoom has yet to really let me down. Great stuff as always, Gerald. Cheers.
You should try a di-box for your monitor output, that could help.
Thank you for the video. This review like all of your others was informative as well as useful. I can live with something that does a very good job with many things instead of carrying many things that do a great job. Another great video. 100K by the end of Nov.
As an audio amateur, I find you go into so many details so fast that I cannot fully appreciate whether this unit is useful or not. What I retain from your video is that for musicians this is not very useful by itself, but needs an audio interface that can recognize and process instrument signals directly (guitars, keyboards).
If you want better quality output, you can go from the unbalanced 3.5mm to a stereo DI box (Whirlwind PCDI, Radial Engineering Trim Two or ProAV2 or Stereo JDI). Naturally you'd want the cable from the F6 to the DI to be short and then use XLR to your monitors.
Keep the sarcastic "if you did not like this video" comments coming! Love 'em!
Something isn't right... I have notifications on but I didn't get a notification... Thankfully I saw this in my recommended! Anywho, potenial video intro: "I'd rather have my city burned down than hand over my pistachios" (One of my teachers said this in my literature class)
Another solid video. Still enjoying your highly technical aspects of the gear and software you breakdown. Thank you!
Working with Kasey for a short time must have inspired you to continue with your high technical excellence with a tremendous amount of information in a short period of viewing time! Great video on the F6 and I'm not even in the market to buy one, since I have an MixPre3. I just wanted to see how you liked it. You and Kasey are on opposite ends of the TH-cam spectrum, and I am glad you are both doing what you do, and I love they ways each of you run your channels.
Maybe someone already said this but, unbalanced outputs are fine for noise performance. Balanced cables sometimes allow a signal to 6db hotter, but other than that shouldn’t really make any difference in this case. The telling thing here is when you said adapting to balanced cables helped noise performance. That implies you are plugging into a balanced input that needs to be adapted specifically. Some balanced connections want pin 3 floated, others want it grounded. As for the drift you are still seeing on the time code locked audio, I suspect that is due to your adapter solution. Shorting two channels together like that affects the output amplifier and it’s anyone’s guess what that yields in this circuit, but I think one symptom has been found. The real solution here is a crossover, or polarity flip cable. Just a short cable with the pins cross connected. Check out Redco Audio for audio cables. They will make you anything you need to custom spec, at higher quality, and it will usually be cheaper. Try using the custom cable page for the bmpcc4k xlr adapter cable. Way cheaper. Studio engineers have been using red o for years.
Ok please make an audio series where you teach the ins and outs of good audio quality.
This would be tremendously helpful.
Your sound is ON POINT
Great in-depth review. I bought the F6, but ended up passing it on to a friend and bought the MixPre 6ii. Would love to hear your comments about that range!
The way you described that last question about multiple devices vs one with accessories/tweaks sounds exactly like the debate between a rigged up small camera vs an fs7 c200 style camera. I fully understand that appeal when it comes to price, but I often think the drawbacks outweigh the benefits of rigging up small cameras to do bigger jobs. The bmpcc 4K/6k and zcam seem extremely close but sometimes SDI or balanced outputs are must haves.
I’m Gerald Undone.....’your only supposed to blow the bloody doors off!’ In your best Cockney accent.
Let's hope it's better than Camera Conspiracies' Gordon Laing accent!
The Zoom F6 definitely seems like it'd be good for some live recording of bands, too. That's definitely a bonus.
I think it's fair to say Zoom designed the F6 with Filmmakers in mind rather than musicians, which of you're a Location Sound Recordist like me...is a very nice thing
"I'm Gerald Undone, and I'm sending a gift to this guy. Seriously surprised nobody has had me say this before."
Bruh. You’ve been pumping out the content lately! Thanks for all your hard work! You mad lad. Excited for this new little gadget!
The audio drift might have something to do with the CMOS in your computer. Try to reset or change the CMOS battery. Or, try to record on a different computer to see if the issue persists. I know this video is several years old, but just in case anyone is having similar issues.
I travel quite a bit and often have to carry everything in a backpack or a pelican 1510. I always prefer one device that does several things, even if adapters are needed. The F6 is high on my want list because of its versatility.
It can’t by its nature be everything to all people or, by extension, all recording situations. So it’s primary function is as a field recorder and the form factor is so it tucks in nicely under various cameras without being too unwieldy on the tripod. The unbalanced output is a bit of a phoopah in my opinion though. They could have added that fairly easily and would have made direct preamp use so much better. Well, they have to leave something to upgrade on the next iteration right? That and the timecode assignment I guess.
Hay friend. I just bought 1 off a friend. Yes I too like the sound of the F6 for multitracks and stems.
I can't talk about other interfaces as I haven't heard many but compaired to the other H recorders I have everything you said is true. The H recorders though I found a bit brighter and harsher.
But the F6 is studio sounding.
I'm blind as is the friend I bought it from but as the app has lots of the functions to it we can once paired pretty much use the F6. Same from what I understand goes for the F8N Pro.
I'm surprised at the record quality of these recorders. It's like the good old trusty Sound-Devices 744-T $4000 recorder.
I'm Gerald Undone , Europeans are advised to play at .75 speed to get all fruits of my presentation.
Easier to watch with the volume off...just read the subtitles or rather turn the screen blank and listen to the tutorial 😄
Honestly I feel .5 way more pleasing!
The only consolidated device I can think of off hand is my cable modem router combo. The major drawback is that the cable company is the one that controls firmware updates. other than that it works alright. The first time I saw the previews on the Zoom F6 I was wowed (I don't know a ton about audio). That float recording with backup would be amazing. I've tried putting a Zoom H1 between my camera and mic but get an offset between what the Zoom records and what the camera records, which isn't ideal so I don't bother. Right now just pushing to the camera seems sufficient for what I do, but eventually something like a F6 would be nice.
Gerald, great work around. I didn’t know the F6 was that configurable in the settings menu (and I’ve owned it for 6 months now). You’re crazy smart. Oh, also glad you got a haircut lol
I think it's great you've made it into a great hack solution for your one fits all needs! I'm all for re-purposing equipment in every way possible.
I rarely have criticism of your videos - I love all your in-depth and amazing analysis of products and gear. However, I think it's fair to say I was hoping you'd talk about the experience of using it on a set, and in conjunction with a camera (or even a separate operator for it as well).
Regardless, I'm extremely thankful for the content you put out, and thank you for sharing your thoughts! Keep rocking!
I hear that. I figured I'd leave that to the location sound experts and focus more on the computer stuff that I'm into. Hopefully once all the videos are out, mine will offer useful, but different information. I try my best with audio, but I'm definitely not as experienced in the field with it as other channels.
@@geraldundone Great outlook on it. I only suggest what I do because I know you'll put an great deal of thought and analysis on your feelings about it before sharing it (in great detail, no less).
Again, still love the content!
I’m all for consolidating and simplifying these days - so tired of hauling multiple cases! The zoom F6 is a big part of this - and I no longer need to wear a vest to support my sound bag because the F6 is so light! Simplicity! Yay!
My experience is that I'm new to recording. Learning as I go with the hope that I find the right equipment to record live music, play live through, possible pod casts, live stream. I thought I'd start with a mixer/interface and bought a Soundcraft 12fx notepad. I'm so new to all this I can't wrap my head around this thing and apparently it doesn't send any fx, EQ settings I established on the mixer to the DAW. It sends it as one track. I thought it would be my "one in all" but more so in theory. A friend of mine who is a professional sound engineer thought the Soundcraft was too limiting. He uses the Zoom F6 and recommended I look at, so here I am. I'm still on the fence but badly hope to find that "all in one item", I don t know if this is it or not. Going to research more or I just give in and buy a separate interface, a small mixer for live stuff, and my loop pedal. I don't get why most interfaces at entry level are just two inputs, I need three or four at least. Why I sort of warmed up to the Zoom F6. So for recording instruments you can't plug straight in, you gotta run a mic to a speaker and record, I'm so new to all this obviously. Feeling a tad over my head but learning as I go. Thanks for a great review.
Love your videos here but i always wondered... what do you use your gear for exactly? do you make films? why no links?
Hmmm the F4 has two balanced XLR outputs and the inputs are XLR as well as 1/4 inch. But it doesn't have the 32-bit float which looks sweet! I've run a folk club for years and I have used many different Zoom products and have always loved the sound quality I get from the preamps.
Outstanding review and info. I've just unboxed mine and I'm really excited for my upcoming trials and productions with it. I really hope someone at Zoom sees this video and implements your suggestion on the firmware update to allow customization of the timecode routing, as I have the same problem synchronizing my Video Devices PIX-E5H.
That audiodrift is something that is usually not the interfaces fault. This happens everytime to some degree when 2 sources are recorded with their own clock. Only thing that could prevent this is a stable timecode between the camera and the Zoom F6 for example. You could also try to feed the Audio Interfaces Signal back into your camera while shooting. This way you would have everything in sync although there might be considerably worse audio fidelity since you are going thorugh another DA/AD and Camera Audio (even line level) is never as good. There is the Tascam 701D Recorder that has an HDMI in that you should be able to sync through while recording Your MIC Signal at the same time.
Monitoring, midi, digital, word clock, surround. Depends what your doing. I Have used the f4 as in interface out and about for picking up voice over where people need to see picture and it does the job fine short of critical listening ... , though you can always go through an amp.
Can’t remember what it was like for mixing direct input monitoring and playback.
If you don’t have an interface, then it’ll be fine because you’re not missing any of the features you won’t have and the pres will be probably better than a lot of the Lower end interfaces because that’s where their focus is.
F6 is designed for pro, but outputs are home audio output; surprising. I face problem with all Zoom mixers and recorder. There are something lacking in them, always. But I love all Zoom Recorders. I am with zoom for its recorders.
I've been looking at the F6 since I saw a review on it a few months ago and now I really want to add this. I'm in a small space, so the all in one solution is something I'm a huge fan of. I currently use the Zoom H4N pro to record audio for my tutorials. It allows me to record to my camera and my computer at the same time, but I lose the ability to also run headphones out of it. The F6 would definitely be a step up for me.
Well it let you drop audio drift sync steps and let you do everything else worry free. So it technically does everything :P
A real good tool indeed and sure beats the bird nest of wires to mulitple devices.
Thanks Gerald. You found another gem for the studio.
Could the extremely small audio drift be caused by recording audio at 48kHz and the camera recording at 23.976FPS instead of true 24fps?
Hi Gerald I'm looking into recorders and have narrowed my choice down to F6 or H6. I mostly shoot interviews with a Rode NTG. I notice you're currently using the F6 yourself. Assuming you'd recommend it over the H6 then but it depends on what I'm using it for?
I use a breakout cable by hosa stereo male to dual mono female and it worked perfectly
However on my breakout recording I had some issues with the Bluetooth app that crashed the recorder briefly and had to record the second half of the show with out it
A few firmware tweaks. I was on the fence with the new mix pre but 1000 for 4 channels versus 650 for 6 sold me. Nice unit and I like your tweaks keep up the good work. This was with the bmp 4K by the way
Hi Gerald
from your review and other one done by Curtis Judd I feel that is not targeting musicians, it is very handy for the one chance recordings such as TV and Cinema productions which explains the neutral way it sounds
No consideration for home recorders or studio ones which I can understand
are we trying to find the impossible device that does it all as your fried of camera conspiracies ?
I think I will wait for the 2nd gen or better option especially the sample rate is 192 kHz even for the Scarlet 2i2 while this one is restricted to 48 kHz
If i earned money from TV field recording I'd definitely buy this but I will still have a dedicated music audio interface home
Greetings for your good work, as usual !
I often see people on TH-cam looking for a camera that can do both stills and video/vlogging and it seems to me that it's generally much cheaper and easier to get separate devices for those things.
This is a good one. I'm actually aiming to get the f6.
This should be your demo reel as a product rep. Send this to QVC or Amazon. You’ll be hired that day!!!!
Duuuude, super late to this video - thanks for putting this together. Been interested in a new FR and this is a great breakdown. Thanks, Gerald.
Would it make any sense to get this unit for VO so that I could record whereever I want (my closet for instance) without having to deal with my PC fan noise or it's an overkill? Or maybe should I wait for the updated units that Zoom is putting out? Thank you for the great video!
Thank you for a great user overview and work-arounds. I use the F4 and F8, and the BMPCC and Tentacles. The F6 and 32bit recording is tempting as an addition, but not in its current I/O configuration. The 32bit tech will certainly spread across more equipment, and the SW platforms need to catch up as well!
Hey, great viddeo.
What's sample bitrate would you recommend for 32bit float recording format? 48 or 96kHz
So looks like the Zoom F6 has a bad USB related bug that I recently discovered - in USB Stereo Mix Mode, the audio signal from the recorder will drop in pitch and even delay by a half to 1 second when listening to it on the PC. I've been using it to stream on Twitch over the past few weeks and it does this at least once on every stream which requires me to exit USB mode and re-enable it on the recorder. I've tried different USB 3.0 ports with no change as well as updated the FW to 1.3. Next I need to rule out using Streamlabs OBS, my USB-C cable, and try different XLR mics from the equation. If those aren't it then I'll be contacting Zoom about it.
As usual, I'll give my view on it -before- after watching the video: The F6 can't make my coffee, or calm my wife down when I buy 4000$ camera equipment... so NO, it can't do everything (at least, everything I need) ! Don't buy it! :O
:)
I'm probably divided when it comes to the great question ( Single Do-it-All VS several Dedicated ), as it depends on many criterias, including:
- Market: are All-in-1 as good as Dedicated when it comes to... Audio / Video / Cooking / Robbing the Bank / Whatever ?
- My Needs & the Exigence that come with it : to Rob the Bank, can I rely on half-working guns, just bc they can fill the bags with money, make the coffee (finally), take the phone number of the nice girl who was secretly impressed, open the locked doors, & call Siri to set up the GPS once we get back in the car? I don't think so! ( Maybe I digress a little, but... YOU GOT THE POINT, right? :D )
- The context / circumstances : it could actually be part of the previous point, but sometimes this one varies. You may have the needs of max perf & features → go for Dedicated, while, this time, you will deal with poor weather, & most of your gear is not IP , & you'll have to move a lot +, & you fear + than usual your stuff could get stolen, so you'd better have in on yourself rather than letting the recorder at the other half of the land... etc
Most of the time, I prefer All-In-1 if it's perf & featured enough (like.. smartphones cameras when not a pro), known as reliable, affordable (i.e. not a lot $$$er than dedicated for = perf), really + compact, & that I concluded I could use it as intended while not being pissed off (like smartphones cameras tend to fall apart in low light => if I use it in well lit composition, it'll be fine).
For the sectors in which my exigence goes up, cause it (perf, specific features, etc...) really matters, I'll invest in Dedicated. Which I did for Audio REC (400$ Microphone + AI ), Audiophilia (well, still broke, so... xD But dedicated DAC+Amp , & best Headphones I could reasonably afford; right now: DragonFly Red + DT1990 ) , & ... Robbing the Bank (Did I mention I was broke yet? Haha, no correlation of c ! ) !
Perhaps with future firmware...
@@geraldundone That's what she said ! ( ͡° ͜ʖ ͡°)
Another outstanding video! This was a lot different tools 🛠 😂 I’ve noticed this in a few other products from zoom. I love the H6 directly into my a7III and a6400 with RODE NTG3 and 4+.
Hey Gerald, I just preordered the Zoom L-8 as a desktop (one device catches all) kind of setup. It also has the capability to record the audio out from your computer via USB directly onto the SD card, so it’s an interesting option for me as a music production TH-cam creator using my computer audio in my videos. It’s always been a challenge to record the computer on a device separately from the DAW and separately from my voice mic. You might find this piece of equipment interesting for your workflow or at least as a unique thing to make a video about. The Zoom L-8 also has many inputs and outputs that are lacking in the F6. Although it doesn’t do 32bit float or time code unfortunately.
Thanks for the suggestion, Grant! Cheers.
Gerald Undone love your videos man! You’ve been helping me with many purchase decisions.
just bought one for our channel and can't wait to try it
Hey Gerald. Love the video as always! I’ve never heard “raid stretch” before. What does it mean?
I'm using the f6 with the Sennheiser MKH416 and the noise floor is atrocious! -35db, any suggestions? Using 32 bit float!
Please link me to the thesaurus that most certainly comes with this video. Great video Gerald! I understood some of it!
Insanely informative, thanks for another detailed review.
Let me say this, as a guy who has been playing guitar for years. Never ever plug your guitar straight into your recorder. You want to have your guitar and effects go through your amp, that gives you most of your tone. Mic your amp and then record the amp with a mic that uses XLR.
Does it have balanced XLR inputs though? Or just the line outs are unbalanced?
Hey Gerald, great video, how this one compares to the Mix Pre 6? ... I have that one... should I switch to this one?
Marcelo Moyano I hear that the Sound Devices Mix Pre Series has better pre amps than Zoom’s. But don’t quote me on that-it’d be worth looking into more.
there is another audio out, like USB I think! The limiters on mixpre are GOOD and analog.
Hi Gerald so I have watched your review on the Zoom F6 and the Sony XLR-K3M , I pretty much just do two channel audio right into the camera, would I get better quality using the XLR-K3m digitally or use the F6 going into the camera using the 1/8" cable?
Brother, great video. I need to learn secondary sound. Thanks!
Asome video Gerald, i use the zoom H4N and its works perfectly
When you're new to the channel and weren't expecting Gerald to have long hair!
What would you recommend in place for this in 2021?
My answer. One that is capable of mant things. Perhaps it is that I am not an engineer. Thanks for very straightforward review!
'love your channel! I wondering, can I just take the 3.5 mm TC out and route it externally to an XLR input with the appropriate cables/adapters, then select that thus routed TC signal along with a selected track as scratch audio to the camera. So the camera would itself be recording the TC on one channel and scratch audio on the other. This would save the cost of a Tentacle Sync E for my Panasonic G85. (Of course I could just use the 3.5 mm TC out to one side and and half of the line out to the other, using adapters going into the camera - closer to what you described, but adding the scratch audio)