Good discussion. I'm a technical writer, not an audio guy. I think of 32-bit files as like SVG image files. Scalable Vector Graphics. (like icons that you can blow up as large as you like, without introducing distortion). So you've cleared that up a bit.
Great video but I think it’s important to point out that although one can’t clip the audio in 32 bit floating point, one can clip the input electronics of the F3 which will result in a clipped waveform that will be unfixable. The max line level of the F3 is +24dbu which is a very hot signal but one that is easily achievable if the F3 is plugged into a pro-level board and levels on the board go into the red. One needs to pay attention to the magnification level PRIOR to recording on the F3 to make sure your not overdriving the F3’s input electronics. Zoom doesn’t make this clear in their advertising for this recorder. Emails with Zoom’s support people confirm this. Otherwise, this is a stellar recorder with excellent performance and I highly recommend it. Great video!!
As a person of a certain age who is prone to forget to press buttons, I was very happy to discover the Zoom F3 - and equally happy to find this very, very - very! - helpful and pleasant video. Thank you so much.
I do ASMR content and just got these at the recommendation of /r/fieldrecorders. My noise floor was insane and LUFS was 6 to -50 range (compressor couldn't even fix) T.T This is the only video I've found to really help. I think my placement was way off. I had it set up in your interview scenario for whisper content... Off to tinker more. Thank you so much for making this!!
Awesome video. Purchased this with some mics several months ago. Using the setup for nature scapes and detailed wildlife field recordings (and recording bigfoot audio). Better understanding the technology has given me some confidence in my build and its applications for my content.
thanks Wayne!!! after watching this, i went and upgraded my old zoom h4n to the F3! tested over the weekend at a wedding gig and I was mind blown at this tiny device!!!
Just picked up their UAC-232 interface and sweet jesus, 32bit float is ASS BANANAS. I just plugged my ribbon mics into this thing without a preamp and it picked up everything. EVERYTHING. No clipping, no audio hiss from gain staging, it just picked up the entire range. I'm floored.
Hey Lee! Thanks for your comment! Glad my video was helpful and truth be told, my Zoom F3 has probably been one of the best gear investments I've made in a number of years (then again, I do buy mics like there's going to be a global shortage...lol)
Really good video! I liked a LOT of things about it, but ESPECIALLY how you mentioned the importance of PROXIMITY (mic placement) in regard to getting good audio quality...just subscribed, thank you so much for your help!
Thanks for your comment! Totally! Mic placement is still a critical component in obtaining a great recording even with 32-bit float recorders! The way a lot of content is presented about the F3 is done is such a way that it's actual capabilities can be misinterpreted (like a wedding videographer could be 50' away from the ceremony and still capture every word lol). When in actuality the it would be more beneficial in preventing clipping when everyone cheers after the couple is married! Obnoxious Uncle Larry who insists on bringing his fog horn will never ruin the audio of a wedding ever again!
@@WayneRECs Ha, ha...Good storytelling too😆 I've just got the Zoom F2 at this moment, so not sure I'll get the full 32-bit float experience with this (I think it only has a single capture chip instead of 1 for "highs" and 1 for "lows" as the F6, F3 have.) I'm starting to experiment though and enjoying it!
I just got the F3 and the Saramonic SoundBird V6 yesterday and set them up today. OMG I didn't know how badly I needed this upgrade until about 30 minutes ago.
Hey Ken! Awesome to hear you're loving your F3 and glad my video is helpful! I might make a more in depth video about some of it's advanced features if people think that would be helpful!
@@WayneRECs That would be very useful for someone like myself, who is new to video as a medium, and even newer to the concepts of higher quality audio recording. I'd definitely watch that!
@@WayneRECs that would be very helpful. My F3 has arrived so I now have the same rig you showcased in your corporate set up in your last video and also added a shotgun pop filter for the mike you recommended 👍
@@WayneRECs that would be very helpful. My F3 has arrived so I now have the same rig you showcased in your corporate set up in your last video and also added a shotgun pop filter for the mike you recommended 👍
Concerning the "magnification glass" button (your discussion starting around 2:25), the owner's manual isn't clear about it. Page 9 only says it adjusts the amplification of the input waveform. The block diagram in the appendix gives an indication of where in the signal chain the function is performed. Another reviewer on UA-cam, and I generally trust his expertise, states that the setting that is active before you start recording does affect the level of the recording, but any change made after you start recording affects only the display. Since the F3 is currently on sale ($267 from Amzn, $280 direct from Zoom and most other dealers) I've finally ordered one and will find out for myself in a few days.
Hey Ray! Hmm, maybe... I don't have a set of Clippys but from what I understand, they require plug in power (of ~5v). The Zoom F3 doesn't natively provide a plug in power option (as it only has settings for +48v or +24 phantom power) but you could use something like a RODE VXLR+ which converts phantom power to plug in power. However, the Clippy I believe outputs a stereo signal via it's 3.5mm jack, so I surmise if plugged into a single VXLR+, both lav mics would be mixed into a single channel. In theory, a y splitter going into 2 VXLR+ adapters might work, but there are a lot of connections & accessories to try.
Thanks Mr Heng! 32-bit floating point looks to be the future (and I'm sure like me, you're excited about the new possibilities with the RODE Wireless PRO!)
In the specifications of the Rode VXLR Pro adapter, I read that the plug-in power supply is 4 Volts when the phantom power supply is 24 Volts and 48 Volts. It turns out that the Rode VXLR PRO adapter, connected to the Zoom F3 audio recorder, converts a phantom power supply of 12-48 Volts to a voltage of 4 Volts and transmits it to the Rode Lavalier Go lavalier microphone. Does this mean that in such cases it will not matter whether I set up a phantom power supply of 24 Volts or 48 Volts in the settings of the Zoom F3 audio recorder? After all, the adapter will still convert to 4 Volts, which is necessary for a lapel microphone? Most importantly, will the adapter prevent the Rode Lavalier Go Lavalier microphone from breaking (burning) due to high voltage? One point is unclear to me. They write that first you need to attach a lapel microphone to the Zoom F3 audio recorder, and then install 48 Volt phantom power in the Zoom F3 settings. Otherwise, the lavalier microphone will burn out. And doesn't the Rode VXLR Pro adapter convert 48 Volts to 4 Volts, despite the fact that before or after connecting the lapel microphone, I installed phantom power in the Zoom F3 audio recorder?
Great content per usual! The ONLY reason I didn’t buy the F3 was the proprietary timecode solution. The Bluetooth Zoom/Ultrasync combo is just too fiddly. I picked up an F6 and can easily jam sync it with my Tentacle 🐙. That way, when I’m out and about, I don’t have to worry about anything other than making sure everything is running the same timecode. Works flawlessly!
Thanks as always for your comment! I think for the everyday content creator who only shoots on a single camera with a single audio recorder, using timecode can be a little overwhelming and can get expensive. BUT, if you are shooting with multiple cameras and devices and need to have them all be perfectly in sync and you're tech savvy enough to set them all up and figure out the post steps, then totally! Tentacles are great! With regards to the Zoom BT, yes, it's annoying to have to have a separate $40 dongle but I guess it's a cost saving measure for those who don't need it and I suppose a convenient way to standardize it across multiple Zoom products.
I’m a high believer of 32 bit float. I’d like to try and connect the Rode Wireless as the mic. Yes the I adjust my level to “UA-cam“ WebCast has a preset for UA-cam. Bam done. I really like the simplicity. Great info.
Excellent video, question for you sir, iI work with lav mics a lot and f i was to use this with a Rode Wireless Go setup would i have to lower the levels on the Rode Transmitter to be able to still make use of the 32 bit float on the zoom, if the Rode Clips as a transmitter does that mean its ruined and unrecoverable. Hope that makes sense.
It looks exactly like the MKE 200. I don't have that mic and have never seen it before. But I did go to Sennheiser's website and navigated to Products > Microphones > Application Type > Filmmaking and then scrolled through the pictures and stopped at the one that looks like the one in this video. Why you couldn't do that is baffling to me. What's your explanation? Do tell.
I was able to see the description you made of the Zoom F3, I wanted to ask you. What are the best parameters or settings to record soundscapes with this recorder? Thank you
Hey Rafael! Thanks for your question! If you're only intending on recording internally on the Zoom F3, once you set your microphone's power requirements (i.e. +48v), there are really no other settings to worry about as most of the work would be in post. This really allows you to focus on mic placement without worrying about specific recording settings. But, if you intend on also outputing to a camera, depending on the environment you're recording in, you would have to set the output level (as the output is not 32-bit float) and may want to consider engaging the Output Limiter in case of unexpected loud sounds.
Hi, did you try using it together with an economical wireless xlr system? I saw that there are many accessible with phantom power. Can you recommend any? Thank you for your content, greetings from Argentina.
Thank you. As you point out microphones in combination with the preamp is vital to get a good sound and low noice. What mics pairs best with the F3 preamps? I assume Dynamic Mics lite Rode Podcaster and such gives too low input level.
Great video!! Thank you. I am just starting with audio for solo short films and readings of original stories. Is this a workable solution given it does not have a time code option? Any idea if there is slow down on longer recordings or anything that may make the audio out of sync with the video when I am trying to sync it in post? Or should I just save for the F6? Which seems like overkill for me at the moment. But good to be prepared for the future, I suppose. Thanks again!!
Very good video on this device. You could have gotten bogged down in the 32 bit floating point technical stuff but you covered it about as well as possible for people who aren't audio engineers. As one myself I'm a little dubious about it being sold as a catch all problem solver for audio but, we'll see right?!
Thanks for your comment! I think with a little bit of knowledge, it can solve a lot of problems for a lot of people. But, you're right. It's been (inadvertently?) marketed as impervious to recording bad audio. Personally, as a one person production, it's really enabled me to focus on other aspects. But certain fundamentals like mic selection and technique are sometimes overshadowed by the allure of 32-but float.
Good afternoon, thank you very much for a very detailed review. Please tell me, is it possible to connect the Sennheiser, Me2, MKE2 lavalier microphones to Zoom F3, via the 3.5 jack? The characteristics of the Sennheiser lavalier microphones indicate a 7.5 volt power supply. In the Zoom F3 recorder, +24/48 volts are supplied to the microphone. If you choose +24 volts, will it not spoil the microphone from overvoltage? I'm not good at this, please tell me
Thanks for your question! As the F3 doesn't have any 3.5mm input jacks, you'd need a Sennheiser MZA 900 P adapter which is specifically designed to convert +48v Phantom Power to 7.5v for mics like the Sennheiser ME 2 & MKE 2. Be advised that there are other less expensive "XLR to 3.5mm" adapters but they may not provide the appropriate power conversion for the mics you specifically listed. Hope this helps!
@@WayneRECs Thank you very much for the detailed answer. We managed to find such an adapter, from XLR to 3.5 with a 12-48 volt power converter. Thank you again very much for your help
Hey Juan! Thanks for your comment! In this video, I just sent the output of the F3 to my camera via a 3.5mm TRS cable. But I primarily use the baked in audio track in my video file as reference to sync external audio recordings. In this particular video, all the audio you hear is from the internal recording of the Zoom F3 itself.
Im more curious about post sync and bringing all those seperate audio files in. Also does it start/stop recording with camera? Or do i have to hit record and camera and zoom? Spendig. A day shooting many clips, associating files back? I dont see anyone cover this.
Thank you for this video. Question about the zoom f3. I want to use it as a dslr camera interface. Running my mic into the f3 then use the 3mm jack output directly into my camera to record both video and audio together. Does this allow me 32bit float with the line out 3mm jack to camera? If so, how do I set it as I don't see anything about this anywhere online. I only see volume line level adjustments. Thank you so much.
Thanks for your comment! Unfortunately, 32-bit float in your scenario would only apply to the recording done internally in the F3 and not the output via the 3.5mm jack into your camera. The audio baked into your video file would be at the bit depth and sample rate set by your camera (typically 24-bit 48kHz). This is why there are Line Output settings on the F3 (Level & Limiter) and no level settings for internal recording (as internal recordings are only done in 32-bit float).
What about plugging in via XLR to a DJ's soundboard or speaker at a wedding? Would the whole "depends on the mic/input" deal matter in this situation? Would I be able to recover any signal they send to me?
Hey Michael! Thanks for asking! While I don't know any DJs to do a test, I surmise if they are sending you a feed from their soundboard, that they are providing an AUX send which is line level. The F3 does have an option to set the input to "Line" when selecting the "Source" from the channel menu. As long as the DJ is sending you a strong signal, you should be able to adjust it in post if needed. However, if you're only receiving 1 xlr from a DJ and they are sending you 2 wireless mics and their music, if the signal is clipped at the DJ's end (i.e. if someone suddenly yells into a mic) and the audio is distorted either at the DJ's mic, receiver or channel input, you'll likely be send that clipped audio but will not be able to lower in in post as the F3 would be dependent on what the DJ sends.
Some really good avice. Appreciate the time putting this out there. Wondfer if you could offer an opinion. I'm doing more car video and looking to get some good audio for the sound design. Would an external like the F3 and mic be the best option for car audio? Thinking about exhaust sounds while approaching/driving past and also rolling vehicle shots fpor example.
Hi Wayne! Thanks for doing these videos! I'm a total newbie with everything UA-cam and Camera/Audio related.....and just bought the Zoom F3, Rode Wireless GO II and am using the SONY ZV-E10 too. quick question: If I just connected the Zoom F3 line out to my Camera......would it improve the audio vs. just plugging in the mic straight into the Camera? (I know we will lose the 32 bit float bcuz it will baked in the Camera at its default audio sample rate)
Hi, thanks for your question! Plugging the Zoom F3 into your camera via the 3.5mm line out on the F3 does have the potential to record better audio in camera. But this may depend on a few different factors. You'll always be limited by the worst sounding component. In your case, it's most likely your camera's 3.5mm audio input/ camera's audio record level. So say you plug a mic (that has no gain adjustment ability) straight into your camera, you would have to raise your camera's Audio Record Level high enough to get a good signal. But this can be noisy as cameras aren't typically great at increasing gain in this way. You would get better results with your mic plugged into the Zoom F3 and then sending the output from the F3 to your camera's mic in jack. This would let you lower your camera's audio record level (to say like 1) and then use the F3 to raise the F3 output level higher until you get a good signal in your camera's audio meters (with the meters peaking around -12 to -6 db). Moreover, by doing this, you could take advantage of the F3's output features. Specifically like turning on the Output Limiter by going to Menu, Output, Line Out Limiter, On. This would ensure the F3 doesn't send a clip signal to your camera (because like you said, you lose the 32-bit float functionality when outputting via the 3.5mm line out on the F3). Hope this helps!
The thing I can't wrap my head around is the conversion from analog to digital and not having to set the gain. Wouldn't there still be an analog preamp that could clip?
Thanks for asking! If you're referring to the F1 shock mount that attaches to the side bars, I don't think so as the F3 is wider than the F1. The F3 however does have a 1/4" 20 screw mount on the bottom. I've been using a Rycote Shock Mount designed for portable recorders with my F3.
Hi Wayne. I have another quick question. If I had multiple video clips how would sync up the audio from the f3? (The audio file would be one big file while the video clips are multiple small video clips.)
Hey, thanks for asking! I think it depends on what video editing software you use. Assuming your video clips recorded audio, most programs have something like an "auto audio sync using waveform" feature. I use Davinci Resolve and if I have multiple video clips, in the Media Pool, I click on all the video clips and the long audio track and then right click and select "Auto Sync Audio" and then "Based on Waveform". This does the sync automatically and then when they're dropped into the Timeline, everything is lined up. If you select "Based on Waveforms and Append Tracks", Resolve will keep all the audio tracks separated.
@@WayneRECs oh wow! I just started learning how to use Davinci as well. Thank YOU for letting me know about this convenient function. I will now record audio externally 🙏🙏🙏. No more "baking" 🥧👨🍳audio on my Sony ZVE10. Haha Maybe you can do a separate tutorial video regarding this. So folks will find it easier when they do a YT search 😉 Thanks again Wayne!!!
Could the Zoom f3 also be used as a pre-amp? I'm also wondering if it has enough juice to power 250 ohm headphones. I'm thinking about using this to record voiceover and audiobooks to instead of my computer, as my computer is loud. Would you recommend that as an option or not? Thanks for the great information!
Hey Traci! I can't speak to your high impedance headphones, but the F3 can definitely be used to record voiceovers separate from a computer. Depending on the mic you use, it can be a super small/convenient footprint as you could mount the F3 to your mic's stand and run a short xlr cable to it. I don't know what mic or audio interface you currently use, but the F3 has a pretty quiet noise floor and I've used mine on vo jobs that called for loud and soft parts where wasn't able to adjust the gain during recording.
@@WayneRECs Thanks for the response, Wayne. I ordered a Rode Ngt 5 as well as the Rode NT1 to test for my voice. After doing some more research, I guess it doesn't have enough ooph for the 250 ohm headphones, but I'm wondering if I can add an amplipher but I'm guessing that would probably introduce more noise....
Thanks for your question! While I personally haven't used those combinations of Shure mics with my F3, Curtis Judd did in one of his videos at 22:22 here ua-cam.com/video/3Qz5AqEsal0/v-deo.html Hope this helps!
Hey Wayne! I finally decided to pick up yet another audio gadget...and it's this one. 😅 And, per usual, as I'm waiting for its delivery, I start UA-cam diving around what I just bought, lol. Question...apparently not all DAWs and Video Editing Platforms (i.e. I use Logic Pro X) can IMPORT 32-bit Float. I think in the past, I had to use Reaper to do the initial processing of 32-bit float audio files and then export it at the levels I want and edit the rest in my Logic Pro comfort zone. Not sure if things have changed since I last worked with a 32-bit float file...but there's that...what is your experience around that? I know Davinci can import it....but how about other platforms?
Hey Wei! Excited for you to receive your F3! I think today, with the prevalence of software updates, I think a lot more DAWs and Video Editing software support 32-bit float file editing. Though if your program of choice doesn't, yeah, it seems like a workaround would be to first open the 32-bit file in a DAW that does for the initial normalization/ gain correction and then export that to use in another program to finish the edit. IMO, if you're sending out finished audio to clients, I typically do that as 24-bit files anyway, so a workaround workflow for me wouldn't be a deal breaker. That being said, there is a difference between a DAW being about to edit a 32-bit float file and a DAW being about to use the F3 as a digital audio interface to record 32-bit float directly in your DAW. The Zoom Corp website has a pdf list of compatible software applications in the Support & Download section for the F3. Additionally, you many have to update the F3 from the factory to the latest firmware from that page to enable this feature.
Is the noise floor/self noise better on the f3 than on the x8 or x6 tascam??? I purchased an f3 because it specifically advertises "very low self noise", but if the tascam has same or very close noise floor i would rather return it for that. I do mostly quiet ambient recordings of nature.
Thanks for your comment! As I don't have a Tascam X6 or X8, I can do a direct comparison, but the F3 hasn't given me any issues with regards to noise floor. I typically use extremely low self noise mics in my acoustically treated space and have had no noticeable noise floor issues. That being said, I mostly record voiceover as opposed to quiet nature sounds. I surmise though that you would hear a mics self noise before the F3s.
6:50 Excellent. Exactly what l was thinking. Ultimately, if you don't mind me doing a summary of your video in simple words: "Crap in, crap out." Did l get it right? (Except, perhaps, for clipping.) // l thought of buying a F3 and test it myself, but you just saved me the trouble. l rather invest in a better michrophone first in order to reduce the noise floor then take it from there. Thanks for the video!
Ha, yes, generally speaking, noise going in means noise coming out... but.. when it comes to microphones, depending on what you plug it into, the same mic can sound better or worse depending on the quality of the preamps. So, a noisy mic plugged into a noisy recorder will sound noisy. But that mic could potentially sound less noisy when plugged into a recorder with a better preamp. An extreme example of this would be if you take an on camera mic with no gain adjustment and plug it into a camera's mic input and raise the camera's record level so that you get a good signal, you are potentially not only hearing the self noise of the mic, but also the camera's mic input. Take that same mic and plug it into a high quality audio recorder in which the preamp self noise is low (or transparent) then potentially the noise would be the self noise from the mic. This is sometimes referred to as "clean gain" BUT, while the above may all be true, in a real world situation, the average listener may not even be able to detect an audible difference. So for some creators, more expensive gear has diminishing returns. Like say I had a kayaking channel that always had moving water in my videos, that environmental noise would raise the noise floor well above any audio equipment self noise.
Thanks for the thorough answer, much appreciated. I agree with what you said, especially the 'diminishing return' part when being a content creator. I mostly film my videos with a Nikon z6 and a z24mm f1.8mm. I'm sure many don't even notice the difference to the shots l take with the phone 🙄😅 Let alone when watching on a mobile phone! Thanks for the video! ATB! 😊🏕️
Is it possible to use kondensor microphones alike the "t.bone SC 140 Stereoset Bundle" from Thomann...(two for 117€) or can I get a to high noise floor by recording nature sound alike a river or forest sound.
Thanks for your comment! You can definitely use condenser mics like the t.bone SC 140 as the F3 can supply phantom power to both channels. With regards to noise floor, it really depends on your proximity to the sound source. You'd likely get great results with a loud river or a babbling brook (if you're up close). But with nature sounds, the noise floor really depends on your mic's self noise.
Hey David! The Magnification setting IS super confusing! When recording internally on the F3, the magnification on the lcd will basically determine what the waveform will look like in a DAW when you copy the file from the F3 to a computer. For example, a "x1" magnification will display a small waveform (on the lcd and when opened in a DAW) that you would most likely need to raise the amplification in your DAW. A "x512" will display what looks like a clipped waveform that you would most likely need to lower the amplification in your DAW. Because the F3 only records in 32-bit float, you can make these digital amplification adjustments in a DAW without affecting the actually audio quality. BUT, the magnification also affect the analog output of both the headphone jack and Line Out jack. In that respect, if you are outputting the F3 to another device (like a camera), the magnification (along with the Output Line Level setting) would need to be set appropriately in combination with the receiving devices record level to get the best signal. AND while I don't use mine as a USB audio interface, if you select the USB output to "Linear" (which is 24-bit), I believe you'd need to adjust the magnification like you would adjust the gain when recording to a DAW directly. But, if you select the "Float" USB Output option (which is 32-bit output) and have a compatible 32-bit float DAW, program or app, then the magnification would still be like setting a level, but if you set it too high or too low, you can recover it digitally.
@@WayneRECs Thank you very much for responding so if I understand correctly the magnification level is in essence doing what you were going to do in post anyways with the gain in respect to manipulating it to a good sounding level if that makes sense? I can either magnify it or “ball park” the level that will cut down on the amount of gain manipulation in post? Also If I understand what you said about the headphone output It sounds like if I buy this thing I’m going to be magnifying it to fill up the area so I can hear myself to monitor?
@@DavidBrackett385 Right, the closer you get the magnification on the lcd to look "right", the less manipulation you need to do in post. With regards to the headphones, much like the "Output Line Level" adjustments, the headphones have separate physical volume buttons next to the jack so you have a fair amount of control when monitoring.
Hey, thanks for your question! The Zoom F3 can either be set to record each channel as separate mono tracks or it can be set to stereo mode where Channel 1 is L and Channel 2 is R. So for example, if you had a stereo mic like an Audio Technica AT8022 where the cable splits into 2 male xlr connectors, setting the F3 to Stereo recording mode would produce a stereo track. Alternatively, if you have a matched pair of mics, like 2 Lewitt LCT-040 match, you could plug one in ch1 and the other in ch2 and record stereo that way as well (w/ the mics positioned in your preferred stereo placement configuration, i.e. XY, AB, ORTF etc).
Sorry, I watched the whole thing but I’m not sure I understand, will the f3 still record in 32bit float even when connected/synced with the camera? Or to use the 32bit float you have to record separately and sync in post?
Thanks for your comment! The F3 will always record in 32.-bit float internally, but if you output via the 3.5mm output to a camera, while the internal recording will still be 32-bit float, the output will be recorded (most likely) in 24-bit in camera (or 16-bit depending on your camera model). So, yes, you would need to sync the F3 recording and the in-camera recording in post but as long as they are both set to a 48kHz sample rate, you should be fine. In non-critical audio recording scenarios (like a vlog or YT video), my F3 recording often serves as a back up as the output in-camera audio recording usually will suffice. BUT, if I'm recording some critical audio (where the sound sources is the focus), then I'll use the F3 recording (with some post processing) and use the in-camera audio as a scratch track for sync'ing purposes.
Hello Wayne! I bought a new mic -- Shure SM7B. I tried connecting it straight into my Zoom F3....and the volume is super low. Do I need a Cloud Lifter? If not...what do you suggest?
Hmm, you shouldn't need a fethead or cloudlifter. What magnification level do you have the input channel that the SM7b is running into? Regardless, if you're recording in 32 but float, you should just be able to raise the level in post with no ill effects.
Yep, you can set that significantly higher until you get a healthy looking waveform. Then in post when editing, if it's too loud and looks like its clipped, with a compatible 32-bit float editor (which most audio and video editors support), you can just lower the level to recover the audio (or raise it if it isn't loud enough).
Hi, Wayne. As a voice actor, COULD this replace a traditional interface like my MOTU M2 or an SSL2? There is so much "What mic do you have?" "What interface do you have?" "What is your booth like?" etc. -- Does this keep up with VO industry standards? I'd love to ditch my mic splitter (safety track) setup. The UAC 232 seems like a viable option for that, too -- as does this. BUT can these two interfaces hold their own in the "VO Gear Wars?"
Hey Alex! Thanks for your comment! Can these Zoom 32-bit float devices replace other interfaces? Well, yes and no. IMO, for voiceover, 32-bit float recording is going to become significantly more mainstream, especially for the solo freelance voice artist. It really does allow you to focus on your performance and not worry about your levels, especially if you do character work (which I don't lol). But I have done a job or 2 recently that required me to shout and recording that on my F3 made it a breeze with no retakes because of clipping. But when it comes to the interface issue, I think with ZOOM's foray into 32-bit float interfaces with the UAC-232, DAWs and DAW compatibility aren't quite there yet... I've been using my UAC-232 for paid work for the last few weeks with no issue integrating it into my recording and editing workflow (as my DAW is compatible with 32-bit float recording) but that may not be the case with every person out there. The workaround that I had done in the past was to record directly on the F3 in my studio and then transfer the 32-bit float wav file into my DAW and work with it there. But this became cumbersome for me personally as I was using my F3 for other purposes and the extra steps weren't worth it for me in the end. But now that I've used the UAC-232, I don't think I'll be going back.
Hey Alex, I literally just swapped out my SSL2 for the new UAC-232 interface. I've tested it and it's absolutely bonkers. It's definitely a huge quality of life improvement for recording, but it's going to take some getting used to. It picks up every little sound and it just... doesn't clip. No gain staging, no preamp, no compressor, I just get whole-hog signal. I've noticed that it does pick up a lot more room noise, though. That's on me for trying to record violin in a crappy apartment, since distance from the mic is kind of a requirement. But if I were a voice actor with a good amount of foam surrounding me and the microphone right up to my face I don't think that would be an issue. One thing I noticed was that it made the internal self-noise levels of my equipment much more obvious if I normalized a quiet track. The interface and the gain staging is no longer the noise floor bottleneck. It's the mic now. Naturally, it was much more noticeable with my condenser mics. On the other hand, when I plugged in my old dynamic SM57 there was practically none. In fact it became so sensitive that I could point it at things and it would pick up the electrical hum/hiss within the walls, the speakers, the computer, the toaster oven, etc. I could then bring it back to my face and yell with the microphone _in my mouth_ and the recording still wouldn't clip. Is it overkill? I mean, yeah. It's not like we weren't able to make decent recordings before this tech came along. It's a luxury. But it's a luxury that makes the recording and editing process so much smoother and less painful. Like Wayne said, it allows you to take your focus completely off of the equipment and put it back onto the performance, which is where it should be. And that's why I think 32bit float is going to become the industry standard going forward. There's too much utility here. It reduces errors and makes your recordings more forgivable. Drummers are going to love this. Foley artists are going to *need* this. Audio engineers are going to use this to cheese their way through sessions all day, every day, without touching a single knob or fader. Are the levels good? The levels are always good. Go get one and record some ASMR while lighting off firecrackers.
@@pirojfmifhghek566 GREAT answer! Thank you! If it were in stock, I'd get one ASAP! Thinking about just going with the F3 since I can actually buy it NOW. I do wonder how this works with things like source connect. But yeah, I do VO work, and a fair amount is character. So I scream, I yell, I go from whispers to shouts. So this will be awesome. As long as the pres are clean, I'm sold! Just gotta figure out the final piece of love directed sessions with things like SC as mentioned or being directed over a zoom call. Thanks again for this brilliant endorsement!
@@AlexMittsVOID Alex... I was also thinking to buy SSL2+ or Audient id14 mk ii.... and also seen MOTU ..... and now This device Zoom.... : ) What might be your suggestion to me for VO ?
I don’t know if I’m doing something wrong, but I cannot for the life of me get a 3.5mm input to produce quality audio. I have the Rode XLR converter, and used a XV1 lav, a Rode VideoMic GO II, and a Rode VideoMic shotgun and only the 2 shotgun mics produced anything worthy of using. However that was maxed out on the F3, and with the mic 1-2” from my mouth. Any further and it was worse than recording directly from my A7III. What the heck am I doing wrong?! 😰
What RODE adapter are you using? There are actually 3 different types. There's a straight XLR to 3.5mm, the second is the VXLR+ and the third is the VXLR Pro. The + and the Pro version are what are needed to input a 3.5mm lav (or similar mic). Generally 3.5mm on camera mics require a low 3-5v to work. This is commonly called "plug in power" and camera mic inputs typically supply this low voltage. When using these mics with the F3, the F3 only has the ability to supply Phantom Power (+48v) typically required by condenser mics. The RODE VXLR+ or VXLR Pro convert Phantom power to 3-5v. Basically a step down converter to provide the adequate low voltage for 3.5mm TRS mics. (The non+ & non- Pro RODE adapter does not have this power conversion capability.) So basically, to use a TRS lav with an F3, you'd need to turn on Phantom Power on the F3 channel and use a VXLR + or Pro adapter.
@@WayneRECs I knew I could count on you! I only had the basic XLR mini jack female adapter. I will get a hold of the VXLR Pro or + and give it a shot. You’re the man!
I typically set my sample rate to 48kHz, but there are settings for 44.1, 48, 88.2, 96 and 192. Whatever it's set to applies to both Channel 1 and Channel 2.
@@WayneRECs I don’t have the skill to treat my room Man. I try with blankets and foam and I still sound like I’m inside a coke can. For my podcast it’s a dynamic mic and then I hit it with noise gate in audacity post edit. You are on another level my man
I was searching all over the web for answers to these questions and then Wayne RECs answers all of them like a boss in one concise video. Amazing.
Thanks so much for making this, that you included all the technical and practical details and you used the real F3 and microphone for this showcase!
Thanks for your comment! Glad my video helped! And thanks so much for the Super Thanks!
Good discussion. I'm a technical writer, not an audio guy. I think of 32-bit files as like SVG image files. Scalable Vector Graphics. (like icons that you can blow up as large as you like, without introducing distortion). So you've cleared that up a bit.
that was exactly my thought
Great video but I think it’s important to point out that although one can’t clip the audio in 32 bit floating point, one can clip the input electronics of the F3 which will result in a clipped waveform that will be unfixable. The max line level of the F3 is +24dbu which is a very hot signal but one that is easily achievable if the F3 is plugged into a pro-level board and levels on the board go into the red. One needs to pay attention to the magnification level PRIOR to recording on the F3 to make sure your not overdriving the F3’s input electronics. Zoom doesn’t make this clear in their advertising for this recorder. Emails with Zoom’s support people confirm this.
Otherwise, this is a stellar recorder with excellent performance and I highly recommend it.
Great video!!
As a person of a certain age who is prone to forget to press buttons, I was very happy to discover the Zoom F3 - and equally happy to find this very, very - very! - helpful and pleasant video. Thank you so much.
Glad it was helpful! Thanks for your kind comment!
Superbly understandable! Thank you.
I do ASMR content and just got these at the recommendation of /r/fieldrecorders. My noise floor was insane and LUFS was 6 to -50 range (compressor couldn't even fix) T.T This is the only video I've found to really help. I think my placement was way off. I had it set up in your interview scenario for whisper content... Off to tinker more. Thank you so much for making this!!
Awesome video. Purchased this with some mics several months ago. Using the setup for nature scapes and detailed wildlife field recordings (and recording bigfoot audio). Better understanding the technology has given me some confidence in my build and its applications for my content.
thanks Wayne!!! after watching this, i went and upgraded my old zoom h4n to the F3! tested over the weekend at a wedding gig and I was mind blown at this tiny device!!!
Hey Dui! Thanks for your comment! Glad the F3 worked out for you!
Just picked up their UAC-232 interface and sweet jesus, 32bit float is ASS BANANAS. I just plugged my ribbon mics into this thing without a preamp and it picked up everything. EVERYTHING. No clipping, no audio hiss from gain staging, it just picked up the entire range. I'm floored.
This man needs more subs immediately! I keep coming back to this video each time I consider Zoom F3.
Information of exceptional importance. Thank you for ALL your input. Truly VERY-VERY helpful !!!!!!!!!
Keep walking !
Great job! Thank you for all the info and I could not agree with you more. I just ordered my F3 yesterday for all the reasons you described.
Hey Andre! Thanks for your Comment! I hope you enjoy your new F3 as much as I do mine!
Thank you for explaining in a way that someone that is audio dumb (like me) can understand.
Dude this is some of the best content on UA-cam why did I just find you….
Thanks! I appreciate you saying so and I'm glad you found my videos!
Thank you, learned a tone. very helpful
duuuuude excellent explanation!!!! thanks so much, defo getting the f3 for sure now!
Hey Lee! Thanks for your comment! Glad my video was helpful and truth be told, my Zoom F3 has probably been one of the best gear investments I've made in a number of years (then again, I do buy mics like there's going to be a global shortage...lol)
Wayne, really nice walk thru on 32 bit recordings and Zoom F3. Learned a lot. Thank you.
Excellent, thank you!
Really good video! I liked a LOT of things about it, but ESPECIALLY how you mentioned the importance of PROXIMITY (mic placement) in regard to getting good audio quality...just subscribed, thank you so much for your help!
Thanks for your comment! Totally! Mic placement is still a critical component in obtaining a great recording even with 32-bit float recorders! The way a lot of content is presented about the F3 is done is such a way that it's actual capabilities can be misinterpreted (like a wedding videographer could be 50' away from the ceremony and still capture every word lol). When in actuality the it would be more beneficial in preventing clipping when everyone cheers after the couple is married! Obnoxious Uncle Larry who insists on bringing his fog horn will never ruin the audio of a wedding ever again!
@@WayneRECs Ha, ha...Good storytelling too😆 I've just got the Zoom F2 at this moment, so not sure I'll get the full 32-bit float experience with this (I think it only has a single capture chip instead of 1 for "highs" and 1 for "lows" as the F6, F3 have.) I'm starting to experiment though and enjoying it!
Great video. Just got the F3! Thx!
So very helpful! thank you!
Excellent video - really great content and examples. Subscribed. Thank you!
I just got the F3 and the Saramonic SoundBird V6 yesterday and set them up today. OMG I didn't know how badly I needed this upgrade until about 30 minutes ago.
Awesome! Like a wise man once said, "If you don't know, now you know."
I have the ZOOM F3 being delivered today. Very excited about this. Thanks for the great video
Congrats! It's a great little recorder! Glad my video was helpful!
I have (and already LOVE the F3)! But, being new to specialized audio recording, this is such helpful information. Thank you!
Hey Ken! Awesome to hear you're loving your F3 and glad my video is helpful! I might make a more in depth video about some of it's advanced features if people think that would be helpful!
@@WayneRECs That would be very useful for someone like myself, who is new to video as a medium, and even newer to the concepts of higher quality audio recording. I'd definitely watch that!
@@WayneRECs that would be very helpful. My F3 has arrived so I now have the same rig you showcased in your corporate set up in your last video and also added a shotgun pop filter for the mike you recommended 👍
@@WayneRECs that would be very helpful. My F3 has arrived so I now have the same rig you showcased in your corporate set up in your last video and also added a shotgun pop filter for the mike you recommended 👍
Concerning the "magnification glass" button (your discussion starting around 2:25), the owner's manual isn't clear about it. Page 9 only says it adjusts the amplification of the input waveform. The block diagram in the appendix gives an indication of where in the signal chain the function is performed. Another reviewer on UA-cam, and I generally trust his expertise, states that the setting that is active before you start recording does affect the level of the recording, but any change made after you start recording affects only the display. Since the F3 is currently on sale ($267 from Amzn, $280 direct from Zoom and most other dealers) I've finally ordered one and will find out for myself in a few days.
Great video! Very informative, very articulate. New subby.
Thanks so much! I appreciate it!
Very good tutorial for dummies, thanks!
Can you use the single plug 3.5mm Clippy EM272Z1 Stereo Microphones with an adapter? Will the Zoom F3 put out the proper voltage? Thanks.
Hey Ray! Hmm, maybe... I don't have a set of Clippys but from what I understand, they require plug in power (of ~5v). The Zoom F3 doesn't natively provide a plug in power option (as it only has settings for +48v or +24 phantom power) but you could use something like a RODE VXLR+ which converts phantom power to plug in power.
However, the Clippy I believe outputs a stereo signal via it's 3.5mm jack, so I surmise if plugged into a single VXLR+, both lav mics would be mixed into a single channel. In theory, a y splitter going into 2 VXLR+ adapters might work, but there are a lot of connections & accessories to try.
@@WayneRECs Thanks for the info.
Great video! Thanks for publishing this advice!
Love your glasses! Would you mind sharing where you got them?
Lol, thanks! I actually ordered them online from Zenni. I have a few pairs in different colors, but only the white ones make it into my videos lol!
Guy, awesome content. This channel gonna blow up someday.
Thanks so much! It's super nice to hear this!
Great discussion. Thanks!
Thanks Mr Heng! 32-bit floating point looks to be the future (and I'm sure like me, you're excited about the new possibilities with the RODE Wireless PRO!)
@@WayneRECs , I’m hoping it’ll help save a bunch of my student’s work in post. LOL!!!
In the specifications of the Rode VXLR Pro adapter, I read that the plug-in power supply is 4 Volts when the phantom power supply is 24 Volts and 48 Volts. It turns out that the Rode VXLR PRO adapter, connected to the Zoom F3 audio recorder, converts a phantom power supply of 12-48 Volts to a voltage of 4 Volts and transmits it to the Rode Lavalier Go lavalier microphone. Does this mean that in such cases it will not matter whether I set up a phantom power supply of 24 Volts or 48 Volts in the settings of the Zoom F3 audio recorder? After all, the adapter will still convert to 4 Volts, which is necessary for a lapel microphone? Most importantly, will the adapter prevent the Rode Lavalier Go Lavalier microphone from breaking (burning) due to high voltage? One point is unclear to me. They write that first you need to attach a lapel microphone to the Zoom F3 audio recorder, and then install 48 Volt phantom power in the Zoom F3 settings. Otherwise, the lavalier microphone will burn out. And doesn't the Rode VXLR Pro adapter convert 48 Volts to 4 Volts, despite the fact that before or after connecting the lapel microphone, I installed phantom power in the Zoom F3 audio recorder?
Great content per usual! The ONLY reason I didn’t buy the F3 was the proprietary timecode solution. The Bluetooth Zoom/Ultrasync combo is just too fiddly. I picked up an F6 and can easily jam sync it with my Tentacle 🐙. That way, when I’m out and about, I don’t have to worry about anything other than making sure everything is running the same timecode. Works flawlessly!
Thanks as always for your comment! I think for the everyday content creator who only shoots on a single camera with a single audio recorder, using timecode can be a little overwhelming and can get expensive. BUT, if you are shooting with multiple cameras and devices and need to have them all be perfectly in sync and you're tech savvy enough to set them all up and figure out the post steps, then totally! Tentacles are great! With regards to the Zoom BT, yes, it's annoying to have to have a separate $40 dongle but I guess it's a cost saving measure for those who don't need it and I suppose a convenient way to standardize it across multiple Zoom products.
Can i use the F-3 to replace a DAT on a mixing board?
Super cool video as always! Keep it up!
Thanks Isaac! As always, I appreciate you watching and your comment!
Appreciate all the good info
I’m a high believer of 32 bit float. I’d like to try and connect the Rode Wireless as the mic. Yes the I adjust my level to “UA-cam“ WebCast has a preset for UA-cam. Bam done. I really like the simplicity. Great info.
Nice Nestor! You definitely sounded great in your last vid using 3 different cameras!
Really helpful vid. Thanks
Excellent video, question for you sir, iI work with lav mics a lot and f i was to use this with a Rode Wireless Go setup would i have to lower the levels on the Rode Transmitter to be able to still make use of the 32 bit float on the zoom, if the Rode Clips as a transmitter does that mean its ruined and unrecoverable. Hope that makes sense.
Hi, what is the mic @ 2:16? Sennheiser what? Thanks
It looks exactly like the MKE 200. I don't have that mic and have never seen it before. But I did go to Sennheiser's website and navigated to Products > Microphones > Application Type > Filmmaking and then scrolled through the pictures and stopped at the one that looks like the one in this video. Why you couldn't do that is baffling to me. What's your explanation? Do tell.
@@keensoundguy6637I was hoping to have an interaction with the creator. Appreciate your obvious hard work on the investigation though.
as informative and detailed as usual, thanks for sharing
Thanks so much for saying so! I always appreciate you kind comments!
I was able to see the description you made of the Zoom F3, I wanted to ask you. What are the best parameters or settings to record soundscapes with this recorder? Thank you
Hey Rafael! Thanks for your question! If you're only intending on recording internally on the Zoom F3, once you set your microphone's power requirements (i.e. +48v), there are really no other settings to worry about as most of the work would be in post. This really allows you to focus on mic placement without worrying about specific recording settings.
But, if you intend on also outputing to a camera, depending on the environment you're recording in, you would have to set the output level (as the output is not 32-bit float) and may want to consider engaging the Output Limiter in case of unexpected loud sounds.
Hi, did you try using it together with an economical wireless xlr system? I saw that there are many accessible with phantom power. Can you recommend any? Thank you for your content, greetings from Argentina.
Thank you. As you point out microphones in combination with the preamp is vital to get a good sound and low noice. What mics pairs best with the F3 preamps? I assume Dynamic Mics lite Rode Podcaster and such gives too low input level.
Thank you friend🙏
Great video!! Thank you. I am just starting with audio for solo short films and readings of original stories. Is this a workable solution given it does not have a time code option? Any idea if there is slow down on longer recordings or anything that may make the audio out of sync with the video when I am trying to sync it in post? Or should I just save for the F6? Which seems like overkill for me at the moment. But good to be prepared for the future, I suppose. Thanks again!!
Brilliant!
I own one loved it !! Except the lack of support for timecode via BTA for tentacle sync.. they currently support only with Ultrasync Blue systems!!
Hey Aroun! Thanks for your comment! Maybe a future firmware update?
@@WayneRECs May be if many of us reach to zoom they will consider it, I did and tentacle sync is open for it !! But no response from zoom corp
Very good video on this device. You could have gotten bogged down in the 32 bit floating point technical stuff but you covered it about as well as possible for people who aren't audio engineers. As one myself I'm a little dubious about it being sold as a catch all problem solver for audio but, we'll see right?!
Thanks for your comment! I think with a little bit of knowledge, it can solve a lot of problems for a lot of people. But, you're right. It's been (inadvertently?) marketed as impervious to recording bad audio. Personally, as a one person production, it's really enabled me to focus on other aspects. But certain fundamentals like mic selection and technique are sometimes overshadowed by the allure of 32-but float.
Hello,
Have you made any post production treatment for the sound recorded with zoom f3 to delete floor noise ?
Excellent explanation
- thank you!
Thanks for your comment and kind words!
My next recorder for sure
Awesome! Mine too (as I love the F3 so much I might just have to buy a 2nd one!)
Good afternoon, thank you very much for a very detailed review. Please tell me, is it possible to connect the Sennheiser, Me2, MKE2 lavalier microphones to Zoom F3, via the 3.5 jack? The characteristics of the Sennheiser lavalier microphones indicate a 7.5 volt power supply. In the Zoom F3 recorder, +24/48 volts are supplied to the microphone. If you choose +24 volts, will it not spoil the microphone from overvoltage? I'm not good at this, please tell me
Thanks for your question! As the F3 doesn't have any 3.5mm input jacks, you'd need a Sennheiser MZA 900 P adapter which is specifically designed to convert +48v Phantom Power to 7.5v for mics like the Sennheiser ME 2 & MKE 2. Be advised that there are other less expensive "XLR to 3.5mm" adapters but they may not provide the appropriate power conversion for the mics you specifically listed. Hope this helps!
@@WayneRECs Thank you very much for the detailed answer. We managed to find such an adapter, from XLR to 3.5 with a 12-48 volt power converter. Thank you again very much for your help
excellent! thanks a ton!
Great video! What device/transmitter did you use to send audio to your camera?
Hey Juan! Thanks for your comment! In this video, I just sent the output of the F3 to my camera via a 3.5mm TRS cable. But I primarily use the baked in audio track in my video file as reference to sync external audio recordings. In this particular video, all the audio you hear is from the internal recording of the Zoom F3 itself.
Im more curious about post sync and bringing all those seperate audio files in. Also does it start/stop recording with camera? Or do i have to hit record and camera and zoom? Spendig. A day shooting many clips, associating files back? I dont see anyone cover this.
Fantastic video!
Thank you for this video. Question about the zoom f3. I want to use it as a dslr camera interface. Running my mic into the f3 then use the 3mm jack output directly into my camera to record both video and audio together. Does this allow me 32bit float with the line out 3mm jack to camera? If so, how do I set it as I don't see anything about this anywhere online. I only see volume line level adjustments. Thank you so much.
Thanks for your comment! Unfortunately, 32-bit float in your scenario would only apply to the recording done internally in the F3 and not the output via the 3.5mm jack into your camera. The audio baked into your video file would be at the bit depth and sample rate set by your camera (typically 24-bit 48kHz). This is why there are Line Output settings on the F3 (Level & Limiter) and no level settings for internal recording (as internal recordings are only done in 32-bit float).
nice video...great to see someone without the BS, just good info
Hey Andrew! Thanks for saying so!
What about plugging in via XLR to a DJ's soundboard or speaker at a wedding? Would the whole "depends on the mic/input" deal matter in this situation? Would I be able to recover any signal they send to me?
Hey Michael! Thanks for asking! While I don't know any DJs to do a test, I surmise if they are sending you a feed from their soundboard, that they are providing an AUX send which is line level. The F3 does have an option to set the input to "Line" when selecting the "Source" from the channel menu. As long as the DJ is sending you a strong signal, you should be able to adjust it in post if needed.
However, if you're only receiving 1 xlr from a DJ and they are sending you 2 wireless mics and their music, if the signal is clipped at the DJ's end (i.e. if someone suddenly yells into a mic) and the audio is distorted either at the DJ's mic, receiver or channel input, you'll likely be send that clipped audio but will not be able to lower in in post as the F3 would be dependent on what the DJ sends.
@@WayneRECs Thanks for the reply!
Some really good avice. Appreciate the time putting this out there. Wondfer if you could offer an opinion. I'm doing more car video and looking to get some good audio for the sound design. Would an external like the F3 and mic be the best option for car audio? Thinking about exhaust sounds while approaching/driving past and also rolling vehicle shots fpor example.
great video, thank you for the information
Hi Wayne! Thanks for doing these videos! I'm a total newbie with everything UA-cam and Camera/Audio related.....and just bought the Zoom F3, Rode Wireless GO II and am using the SONY ZV-E10 too.
quick question:
If I just connected the Zoom F3 line out to my Camera......would it improve the audio vs. just plugging in the mic straight into the Camera? (I know we will lose the 32 bit float bcuz it will baked in the Camera at its default audio sample rate)
Hi, thanks for your question! Plugging the Zoom F3 into your camera via the 3.5mm line out on the F3 does have the potential to record better audio in camera. But this may depend on a few different factors. You'll always be limited by the worst sounding component. In your case, it's most likely your camera's 3.5mm audio input/ camera's audio record level.
So say you plug a mic (that has no gain adjustment ability) straight into your camera, you would have to raise your camera's Audio Record Level high enough to get a good signal. But this can be noisy as cameras aren't typically great at increasing gain in this way.
You would get better results with your mic plugged into the Zoom F3 and then sending the output from the F3 to your camera's mic in jack. This would let you lower your camera's audio record level (to say like 1) and then use the F3 to raise the F3 output level higher until you get a good signal in your camera's audio meters (with the meters peaking around -12 to -6 db).
Moreover, by doing this, you could take advantage of the F3's output features. Specifically like turning on the Output Limiter by going to Menu, Output, Line Out Limiter, On. This would ensure the F3 doesn't send a clip signal to your camera (because like you said, you lose the 32-bit float functionality when outputting via the 3.5mm line out on the F3).
Hope this helps!
@@WayneRECs awesome! Thanks so much! 🙏
The thing I can't wrap my head around is the conversion from analog to digital and not having to set the gain. Wouldn't there still be an analog preamp that could clip?
Hey there! The F3 uses dual AD converters so it's able to accommodate a much larger dynamic range.
@@WayneRECs That's really awesome. Thanks!
Can the F3 be placed on a shockmount like the one that comes with the F1-SP?
Thanks for asking! If you're referring to the F1 shock mount that attaches to the side bars, I don't think so as the F3 is wider than the F1. The F3 however does have a 1/4" 20 screw mount on the bottom. I've been using a Rycote Shock Mount designed for portable recorders with my F3.
Em 32 bits é possível corrigir ruídos com mais facilidades ?
Hi Wayne. I have another quick question. If I had multiple video clips how would sync up the audio from the f3?
(The audio file would be one big file while the video clips are multiple small video clips.)
Hey, thanks for asking! I think it depends on what video editing software you use. Assuming your video clips recorded audio, most programs have something like an "auto audio sync using waveform" feature. I use Davinci Resolve and if I have multiple video clips, in the Media Pool, I click on all the video clips and the long audio track and then right click and select "Auto Sync Audio" and then "Based on Waveform". This does the sync automatically and then when they're dropped into the Timeline, everything is lined up.
If you select "Based on Waveforms and Append Tracks", Resolve will keep all the audio tracks separated.
@@WayneRECs oh wow! I just started learning how to use Davinci as well. Thank YOU for letting me know about this convenient function. I will now record audio externally 🙏🙏🙏. No more "baking" 🥧👨🍳audio on my Sony ZVE10. Haha
Maybe you can do a separate tutorial video regarding this. So folks will find it easier when they do a YT search 😉
Thanks again Wayne!!!
Could the Zoom f3 also be used as a pre-amp? I'm also wondering if it has enough juice to power 250 ohm headphones. I'm thinking about using this to record voiceover and audiobooks to instead of my computer, as my computer is loud. Would you recommend that as an option or not? Thanks for the great information!
Hey Traci! I can't speak to your high impedance headphones, but the F3 can definitely be used to record voiceovers separate from a computer. Depending on the mic you use, it can be a super small/convenient footprint as you could mount the F3 to your mic's stand and run a short xlr cable to it. I don't know what mic or audio interface you currently use, but the F3 has a pretty quiet noise floor and I've used mine on vo jobs that called for loud and soft parts where wasn't able to adjust the gain during recording.
@@WayneRECs Thanks for the response, Wayne. I ordered a Rode Ngt 5 as well as the Rode NT1 to test for my voice. After doing some more research, I guess it doesn't have enough ooph for the 250 ohm headphones, but I'm wondering if I can add an amplipher but I'm guessing that would probably introduce more noise....
would it be possible if I use Sm7b or mv7 directly to f3 without cloudlifter ? Thank you Sir.
Thanks for your question! While I personally haven't used those combinations of Shure mics with my F3, Curtis Judd did in one of his videos at 22:22 here ua-cam.com/video/3Qz5AqEsal0/v-deo.html Hope this helps!
@@WayneRECs thank you so much.
Hey Wayne! I finally decided to pick up yet another audio gadget...and it's this one. 😅 And, per usual, as I'm waiting for its delivery, I start UA-cam diving around what I just bought, lol. Question...apparently not all DAWs and Video Editing Platforms (i.e. I use Logic Pro X) can IMPORT 32-bit Float. I think in the past, I had to use Reaper to do the initial processing of 32-bit float audio files and then export it at the levels I want and edit the rest in my Logic Pro comfort zone. Not sure if things have changed since I last worked with a 32-bit float file...but there's that...what is your experience around that? I know Davinci can import it....but how about other platforms?
Hey Wei! Excited for you to receive your F3! I think today, with the prevalence of software updates, I think a lot more DAWs and Video Editing software support 32-bit float file editing. Though if your program of choice doesn't, yeah, it seems like a workaround would be to first open the 32-bit file in a DAW that does for the initial normalization/ gain correction and then export that to use in another program to finish the edit. IMO, if you're sending out finished audio to clients, I typically do that as 24-bit files anyway, so a workaround workflow for me wouldn't be a deal breaker.
That being said, there is a difference between a DAW being about to edit a 32-bit float file and a DAW being about to use the F3 as a digital audio interface to record 32-bit float directly in your DAW. The Zoom Corp website has a pdf list of compatible software applications in the Support & Download section for the F3. Additionally, you many have to update the F3 from the factory to the latest firmware from that page to enable this feature.
Is the noise floor/self noise better on the f3 than on the x8 or x6 tascam??? I purchased an f3 because it specifically advertises "very low self noise", but if the tascam has same or very close noise floor i would rather return it for that. I do mostly quiet ambient recordings of nature.
Thanks for your comment! As I don't have a Tascam X6 or X8, I can do a direct comparison, but the F3 hasn't given me any issues with regards to noise floor. I typically use extremely low self noise mics in my acoustically treated space and have had no noticeable noise floor issues. That being said, I mostly record voiceover as opposed to quiet nature sounds. I surmise though that you would hear a mics self noise before the F3s.
@@WayneRECs Long way of saying "I don't know" lol. 🤔
@@MarkShawMedia Ha, that's pretty much it lol!
Check out Curtis Judd. Low noise floor isn't really what the Tascams are known for.
6:50 Excellent. Exactly what l was thinking. Ultimately, if you don't mind me doing a summary of your video in simple words: "Crap in, crap out." Did l get it right? (Except, perhaps, for clipping.) // l thought of buying a F3 and test it myself, but you just saved me the trouble. l rather invest in a better michrophone first in order to reduce the noise floor then take it from there. Thanks for the video!
Ha, yes, generally speaking, noise going in means noise coming out... but.. when it comes to microphones, depending on what you plug it into, the same mic can sound better or worse depending on the quality of the preamps. So, a noisy mic plugged into a noisy recorder will sound noisy. But that mic could potentially sound less noisy when plugged into a recorder with a better preamp.
An extreme example of this would be if you take an on camera mic with no gain adjustment and plug it into a camera's mic input and raise the camera's record level so that you get a good signal, you are potentially not only hearing the self noise of the mic, but also the camera's mic input.
Take that same mic and plug it into a high quality audio recorder in which the preamp self noise is low (or transparent) then potentially the noise would be the self noise from the mic. This is sometimes referred to as "clean gain"
BUT, while the above may all be true, in a real world situation, the average listener may not even be able to detect an audible difference. So for some creators, more expensive gear has diminishing returns. Like say I had a kayaking channel that always had moving water in my videos, that environmental noise would raise the noise floor well above any audio equipment self noise.
Thanks for the thorough answer, much appreciated.
I agree with what you said, especially the 'diminishing return' part when being a content creator. I mostly film my videos with a Nikon z6 and a z24mm f1.8mm. I'm sure many don't even notice the difference to the shots l take with the phone 🙄😅 Let alone when watching on a mobile phone! Thanks for the video! ATB! 😊🏕️
Is it possible to use kondensor microphones alike the "t.bone SC 140 Stereoset Bundle" from Thomann...(two for 117€) or can I get a to high noise floor by recording nature sound alike a river or forest sound.
Thanks for your comment! You can definitely use condenser mics like the t.bone SC 140 as the F3 can supply phantom power to both channels. With regards to noise floor, it really depends on your proximity to the sound source. You'd likely get great results with a loud river or a babbling brook (if you're up close). But with nature sounds, the noise floor really depends on your mic's self noise.
I’m wayyyyyy confused lol so the magnification on the lcd determines the db it starts out with when Input it in a daw?
Hey David! The Magnification setting IS super confusing!
When recording internally on the F3, the magnification on the lcd will basically determine what the waveform will look like in a DAW when you copy the file from the F3 to a computer. For example, a "x1" magnification will display a small waveform (on the lcd and when opened in a DAW) that you would most likely need to raise the amplification in your DAW. A "x512" will display what looks like a clipped waveform that you would most likely need to lower the amplification in your DAW. Because the F3 only records in 32-bit float, you can make these digital amplification adjustments in a DAW without affecting the actually audio quality.
BUT, the magnification also affect the analog output of both the headphone jack and Line Out jack. In that respect, if you are outputting the F3 to another device (like a camera), the magnification (along with the Output Line Level setting) would need to be set appropriately in combination with the receiving devices record level to get the best signal.
AND while I don't use mine as a USB audio interface, if you select the USB output to "Linear" (which is 24-bit), I believe you'd need to adjust the magnification like you would adjust the gain when recording to a DAW directly. But, if you select the "Float" USB Output option (which is 32-bit output) and have a compatible 32-bit float DAW, program or app, then the magnification would still be like setting a level, but if you set it too high or too low, you can recover it digitally.
@@WayneRECs Thank you very much for responding so if I understand correctly the magnification level is in essence doing what you were going to do in post anyways with the gain in respect to manipulating it to a good sounding level if that makes sense? I can either magnify it or “ball park” the level that will cut down on the amount of gain manipulation in post? Also If I understand what you said about the headphone output It sounds like if I buy this thing I’m going to be magnifying it to fill up the area so I can hear myself to monitor?
@@DavidBrackett385 Right, the closer you get the magnification on the lcd to look "right", the less manipulation you need to do in post. With regards to the headphones, much like the "Output Line Level" adjustments, the headphones have separate physical volume buttons next to the jack so you have a fair amount of control when monitoring.
@@WayneRECs awesome man thanks so much for clearing that up great work on your channel
Does this work with stereo microphones or are the channels mono?
Hey, thanks for your question! The Zoom F3 can either be set to record each channel as separate mono tracks or it can be set to stereo mode where Channel 1 is L and Channel 2 is R. So for example, if you had a stereo mic like an Audio Technica AT8022 where the cable splits into 2 male xlr connectors, setting the F3 to Stereo recording mode would produce a stereo track.
Alternatively, if you have a matched pair of mics, like 2 Lewitt LCT-040 match, you could plug one in ch1 and the other in ch2 and record stereo that way as well (w/ the mics positioned in your preferred stereo placement configuration, i.e. XY, AB, ORTF etc).
Thanks.
Sorry, I watched the whole thing but I’m not sure I understand, will the f3 still record in 32bit float even when connected/synced with the camera? Or to use the 32bit float you have to record separately and sync in post?
Thanks for your comment! The F3 will always record in 32.-bit float internally, but if you output via the 3.5mm output to a camera, while the internal recording will still be 32-bit float, the output will be recorded (most likely) in 24-bit in camera (or 16-bit depending on your camera model). So, yes, you would need to sync the F3 recording and the in-camera recording in post but as long as they are both set to a 48kHz sample rate, you should be fine.
In non-critical audio recording scenarios (like a vlog or YT video), my F3 recording often serves as a back up as the output in-camera audio recording usually will suffice. BUT, if I'm recording some critical audio (where the sound sources is the focus), then I'll use the F3 recording (with some post processing) and use the in-camera audio as a scratch track for sync'ing purposes.
@@WayneRECs wow perfect! Thank you so much for the response!
Hello Wayne! I bought a new mic -- Shure SM7B. I tried connecting it straight into my Zoom F3....and the volume is super low. Do I need a Cloud Lifter? If not...what do you suggest?
Hmm, you shouldn't need a fethead or cloudlifter. What magnification level do you have the input channel that the SM7b is running into? Regardless, if you're recording in 32 but float, you should just be able to raise the level in post with no ill effects.
@@WayneRECs On the F3 -- i have it set at X32 -- is that what you're asking?
Yep, you can set that significantly higher until you get a healthy looking waveform. Then in post when editing, if it's too loud and looks like its clipped, with a compatible 32-bit float editor (which most audio and video editors support), you can just lower the level to recover the audio (or raise it if it isn't loud enough).
@@WayneRECs will try it out. Thanks so much Wayne!!
You need common sense
Hi, Wayne. As a voice actor, COULD this replace a traditional interface like my MOTU M2 or an SSL2? There is so much "What mic do you have?" "What interface do you have?" "What is your booth like?" etc. -- Does this keep up with VO industry standards? I'd love to ditch my mic splitter (safety track) setup. The UAC 232 seems like a viable option for that, too -- as does this. BUT can these two interfaces hold their own in the "VO Gear Wars?"
Hey Alex! Thanks for your comment! Can these Zoom 32-bit float devices replace other interfaces? Well, yes and no. IMO, for voiceover, 32-bit float recording is going to become significantly more mainstream, especially for the solo freelance voice artist. It really does allow you to focus on your performance and not worry about your levels, especially if you do character work (which I don't lol). But I have done a job or 2 recently that required me to shout and recording that on my F3 made it a breeze with no retakes because of clipping.
But when it comes to the interface issue, I think with ZOOM's foray into 32-bit float interfaces with the UAC-232, DAWs and DAW compatibility aren't quite there yet... I've been using my UAC-232 for paid work for the last few weeks with no issue integrating it into my recording and editing workflow (as my DAW is compatible with 32-bit float recording) but that may not be the case with every person out there.
The workaround that I had done in the past was to record directly on the F3 in my studio and then transfer the 32-bit float wav file into my DAW and work with it there. But this became cumbersome for me personally as I was using my F3 for other purposes and the extra steps weren't worth it for me in the end. But now that I've used the UAC-232, I don't think I'll be going back.
@@WayneRECs Steallar answer! Thank you!
Hey Alex, I literally just swapped out my SSL2 for the new UAC-232 interface. I've tested it and it's absolutely bonkers. It's definitely a huge quality of life improvement for recording, but it's going to take some getting used to.
It picks up every little sound and it just... doesn't clip. No gain staging, no preamp, no compressor, I just get whole-hog signal. I've noticed that it does pick up a lot more room noise, though. That's on me for trying to record violin in a crappy apartment, since distance from the mic is kind of a requirement. But if I were a voice actor with a good amount of foam surrounding me and the microphone right up to my face I don't think that would be an issue.
One thing I noticed was that it made the internal self-noise levels of my equipment much more obvious if I normalized a quiet track. The interface and the gain staging is no longer the noise floor bottleneck. It's the mic now. Naturally, it was much more noticeable with my condenser mics. On the other hand, when I plugged in my old dynamic SM57 there was practically none. In fact it became so sensitive that I could point it at things and it would pick up the electrical hum/hiss within the walls, the speakers, the computer, the toaster oven, etc. I could then bring it back to my face and yell with the microphone _in my mouth_ and the recording still wouldn't clip.
Is it overkill? I mean, yeah. It's not like we weren't able to make decent recordings before this tech came along. It's a luxury. But it's a luxury that makes the recording and editing process so much smoother and less painful. Like Wayne said, it allows you to take your focus completely off of the equipment and put it back onto the performance, which is where it should be.
And that's why I think 32bit float is going to become the industry standard going forward. There's too much utility here. It reduces errors and makes your recordings more forgivable. Drummers are going to love this. Foley artists are going to *need* this. Audio engineers are going to use this to cheese their way through sessions all day, every day, without touching a single knob or fader. Are the levels good? The levels are always good.
Go get one and record some ASMR while lighting off firecrackers.
@@pirojfmifhghek566 GREAT answer! Thank you! If it were in stock, I'd get one ASAP! Thinking about just going with the F3 since I can actually buy it NOW.
I do wonder how this works with things like source connect.
But yeah, I do VO work, and a fair amount is character. So I scream, I yell, I go from whispers to shouts. So this will be awesome.
As long as the pres are clean, I'm sold!
Just gotta figure out the final piece of love directed sessions with things like SC as mentioned or being directed over a zoom call.
Thanks again for this brilliant endorsement!
@@AlexMittsVOID Alex... I was also thinking to buy SSL2+ or Audient id14 mk ii.... and also seen MOTU ..... and now This device Zoom.... : ) What might be your suggestion to me for VO ?
I am wearing iems and I could state for a fact that I did not hear any background noise as you were speaking quietly
I don’t know if I’m doing something wrong, but I cannot for the life of me get a 3.5mm input to produce quality audio. I have the Rode XLR converter, and used a XV1 lav, a Rode VideoMic GO II, and a Rode VideoMic shotgun and only the 2 shotgun mics produced anything worthy of using. However that was maxed out on the F3, and with the mic 1-2” from my mouth. Any further and it was worse than recording directly from my A7III. What the heck am I doing wrong?! 😰
What RODE adapter are you using? There are actually 3 different types. There's a straight XLR to 3.5mm, the second is the VXLR+ and the third is the VXLR Pro. The + and the Pro version are what are needed to input a 3.5mm lav (or similar mic). Generally 3.5mm on camera mics require a low 3-5v to work. This is commonly called "plug in power" and camera mic inputs typically supply this low voltage.
When using these mics with the F3, the F3 only has the ability to supply Phantom Power (+48v) typically required by condenser mics.
The RODE VXLR+ or VXLR Pro convert Phantom power to 3-5v. Basically a step down converter to provide the adequate low voltage for 3.5mm TRS mics. (The non+ & non- Pro RODE adapter does not have this power conversion capability.)
So basically, to use a TRS lav with an F3, you'd need to turn on Phantom Power on the F3 channel and use a VXLR + or Pro adapter.
@@WayneRECs I knew I could count on you! I only had the basic XLR mini jack female adapter. I will get a hold of the VXLR Pro or + and give it a shot. You’re the man!
What are your settings on the file itself? 96Khz? 192?
I typically set my sample rate to 48kHz, but there are settings for 44.1, 48, 88.2, 96 and 192. Whatever it's set to applies to both Channel 1 and Channel 2.
@@WayneRECs That's hugely helpful. Thank you!
At last someone has explained 32 bit float so that it became understandable 🎉
There is no magic. That’s sad 😞
No way this is not processed lol! It sounds so good! No noise gate applied? Tell us your secret lol
Lol, the real secret is investing in room treatment/ acoustics over audio equipment...
@@WayneRECs I don’t have the skill to treat my room
Man. I try with blankets and foam and I still
sound like I’m inside a coke can. For my podcast it’s a dynamic mic and then I hit it with noise gate in audacity post edit. You are on another level my man
So you are comparing 24-bits to a (compressed) jpeg? And 16-bit will be what? a gif? Strange comparison in my opinion.