How to see dB numbers on meter screens: Go to Menu->System->Level Meter->Level Meter View. From there, customize one of the meter view screens by making sure there are three or fewer items checked. Then the meter will show the dB numbers.
Curtis, you are the epitome of excellence when it comes to product reviews and how to apply the products for our personal productions. I have gotten out of shooting "RU-vid" videos, which were horrible by the way, and have gotten into the artistic side of filming. After my last short was a failure due to budgetary restraints, I turned to this channel to find cheap, yet fantastic products for my filming needs. I have to say that I am watching every single video like it's the Bible and really appreciate that you go THIS in-depth on just about everything and even provide the links for the exact products you are referencing. Thank you so much for your contributions, and I will be sure to post a link of my short film sometime in February or March of 2017, because it will have been mostly made with equipment that you have reviewed and suggested. Please continue doing this videos, and I will keep coming back to learn new things :)
In 2021, it doesn't seem like a good options anymore. Though that has solely to do with the fact that I can't find any retailer still selling it, or anyone on the used market selling it (in Germany).
Each time I need to buy some new equipment, I come back to your channel to see your insightful and honest reviews. I've been using a Zoom H6 for the last few months but have been having issues like gain suddenly jumping or gain being lower depending on the track I use as well as a defective capsule mic (which I only used sometimes but well...). So I've been looking for a new recorder to buy and have been looking at this Zoom F4 and SD Mixpre3 and 6 (even though the 6 is a bit too expensive for me). I've read that preamps on the F4 are way better than on the H6 and would just like to hear your opinion on this, if you have the time. (Also read that the SD are better than the F4 but prices are different too). On the Zoom H6, I can hear some white noise even when no mic are plugged in the xlr entries and I usually need to record at 7 or 7.5 to get some usable (not too low) recordings on which I need to apply heavy noise reduction. I'm just hoping that the F4 preamps and quality can help solve those problems. Thanks for reading and for making such awesome videos!
Hi PierreG, Yes, the F4's preamps are significantly cleaner than the H6, very much worth the upgrade. Especially for ASMR recordings where you intentionally push the gain a bit higher. Much less self-noise - what you describe as white noise. I do prefer the sound of the SD MixPre preamps though the difference is very small. I hope that helps and best wishes!
Oh dear. Which of the 2 snap off peaces screwed up for you sir? I wish I'd seen this comment. My H6 seems to be doing some of the things yours did. For me it's the XY H6 snap off. It's crackeling and like making a bad connection to the H6. Granted I did kinda rock the mics back and forth quite a bit. Don't know if that should matter so much. But I perhaps did toy with it abit much. As for some things being lower than others yeah I have been seeing that too. I have my niece Abby set the nobs to 5 but I note that the right capsel of my AT-8022 sounds lower than the left. Hmmmmmmmmmmmmmmmmmm perhaps it's the H6. Tell me did it screw up your condencers? I'm gonna send the 8022 back in to AT just to be safe but my cable crackles when I use phantom. This is the second cable to do this. Is it not a good idea to have a phantom powered mic in your hand? Must it be absolutely still? I also don't wana throw all blame on the poor H6 if I'm doing things wrong too. I'm new at using phantom. This is my first recorder with phantom.
I'm a loud and proud Sound Devices user, but I recently had to use the Zoom F4 for a week long documentary shoot down in Guatemala (due to conditions and fear of gear theft/loss/damage). In general I will say that the F4 is a solid mixer. It never failed me up in those mountains. After a week of use, I felt quite familiar with the F4's functions and controls. I really missed the ability to pan channels quickly. I had to enter menus and sub menus to be able to pan a channels output, and then I literally had to spin the encoder 10-20 full turns! I wish Zoom would create a LCR mode/option. For dialog, nobody is panning outside of those 3 positions. One other big flaw in my opinion was there is no way to meter your input levels while adjusting them, unless you use trim mode. I just couldn't get into bouncing between the Fader and Trim mode. Because the Fader knobs aren't endlessly-spinning encoders, you have to turn the knob BACK to whatever digital position it was at before toggling away from your last trim or fader settings. And if you exit the Trim page, those fader knobs are still acting as Trim controls! That is too dangerous and unintuitive for me. Zoom should allow you to choose what the Fader knobs default to when you leave the fader or trim menus. Other than that, the F4 is a small/light-weight scaled down version of the F8 and at $600 bucks, not something I would cry over if it fell off a cliff. Nice video(s), Curtis. Thumbs up.
+Hub Location Sound thanks and great to hear your practical experience! I agree 100%. Great backup for pros, great way for independent, no/low budget sound people to capture great sound.
Curtis thank you for all that you do for us in the sound ranks. I just got an F4 and I have a scenario and question. Scenario - My mic kit will be a wireless boom mic system and 2 Comica Boom xu -u2 wireless lav mic sets (4 wireless lav’s total) The wireless boom rx will be feed 3.5mm TRS to XLR into channel 1 of the F4. The wireless lavs rx’s have a 3.5mm jack as well outputting a pair of mic signals each. I plan on using a 3.5mm TRS stereo to dual TS splitter on one rx and regular 3.5mm TRS to 3.5mm TRS on the other rx. On the splitter equipped rx, I will use two 3:5mm TS to XLR cables going in to channels 2 and 3 on the F4. On the other rx I will go 3.5mm TRS to 3.5mm TRS into the ch5/6 3.5mm TRS connection on the F4. Question - Will I notice a difference in sound quality between the XLR connected rx vs. the 3.5mm connected rx?
I don't have those on hand to test, but my guess is that the audio quality limitation is going to be imposed by the Comica wireless units, not at the F4. In other words, my guess is that there won't be a difference between the 3.5mm input and the XLR inputs.
Finally got my F4 because of Curtis' recommendations! I also started test recording dialogue at the regular -12dB peak but also at the lower -18dB (because of the F4's cleaner preamps) with my Audix SCX1-HD mic and followed most of Curtis' recommendation for post-sound production. With my first initials tests at -18db with the mic at 2ft., 15 inch and 1ft. from my lips the background noise removal was better, leaving the audio file sounding more natural and less "digity" sounding when compared to samples recorded similar logistics but recorded at -12dB using the same post sound production on Audition. Am I imagining this? It kind of makes sense, when you bring up the trim record level you also bring up not only the preamp's self noise but also the background noise coming from the environment, i.e. traffic, jungle noise, etc. So if you lower the trim gain on a recording you also then lower the background (environment) noise and even though you also bring down the over all volume as well, maybe it becomes like when you open up an aperture on a camera wide open you can focus only a small part of the image with a wide open F1.8 and sound wise, lowering your trim to -18bB is the audio equivalent of F1.8 in that your not eliminating the background noise but rather your 'blurring' it out of focus to put in focus your subject matter and your mic is better able to focus. And maybe that is why it was easier for Audition to get rid of the background noise because it is less in "sound focus"? Maybe its another advantage of clean amps and recording at -18dB instead of -12bB, what do you think Curtis? Also heard -18dB used to be the pro standard during the sound analog years.
Hi betomena1, I usually use -18dB to -24dB as a target to leave enough headroom for laughing or other unexpected modulation. I'm not sure how the response works in terms of overall noise floor at different gain levels, but I always assumed that it was a generally linear response. That may not be the case after all. Interesting find!
Curtis, thanks so much for your honest and helpful reviews! I was mulling over the differences with something much cheaper like the Tascam 70D but I think you've convinced me to buy the zoom. Great video mate and keep up the good work.
Thanks Curtis, very useful information which really helped me a lot. I bought the Zoom F4 because my H4n's batteries died during a very important interview last week. I lost almost 15 minutes of audio... I was devastated, and so was the company that hired me (probably for the last time). As a H4N user I'm quite a rookie. This video helped me out a lot. It's great to know that this device provides safe recordings. Even when power fails. Great video. Subscribed!
I love your videos Curtis and I always watch ads to support you. Your sound videos are really helpful for me to figure it out. I appreciate you making these videos because you are thorough and I feel like I can trust your advice. Thank you man
This will be the third piece of equipment I've purchased on your review. As always I will test myself to make sure it works for me and my shooting style but thanks Curtis! My go to for a trusted review!
Thanks Curtis for your fantastic and exhaustive final review of the zoom F4, but I would like to understand if it's possible to rename every single track, even without keyboard, by putting a different name for each recording. This in order to write on the name of the tracks the same thinks of the clapperboard and finally, to simplify the operation in post-production. Thank you for the attention!
This looks like a winner. I've finally dropped my H4n enough to break off one of the x/y capsules and decided it was time to upgrade. Audio has always been a dark art to me as I come from a photo background, your channel is amazing with clear practical advice and great production! I think I am going to get this recorder paired with an AT-4053b and get my audio on the next level. keep up the good work!
Any time you are specifically testing for radio interference from phones, it is best to force your phone down to an older GSM/3G network. The bands used by more modern networks are specifically not even close to being heard in the audio range. Maybe once a year my phone will suddenly feel the need to drop back to lower radio bands and then I immediately start hearing interference. Used to be a problem in the studio when we had to insist on airplane mode. The talent figured we were worried their phone might ring! Hell no, I don't want to hear the cell signal in all the mics and amps. I was happy when everyone eventually got a new phone and that distinct noise of my nemesis is largely eliminated. In short, the stress test for phone to audio interference is using an earlier cell network.
@@curtisjudd It is interesting. I wonder if the problem is that the lower frequency is closer to any filtering cutoff applied so filtered less, or if it is picked up more easily by the cable run lengths in use. We used to have problems in theatre (both repertoire and more recently village hall) but I've noticed less now apart from last show one audience member sitting close to the mixing desk position who's phone caused issues. I thought maybe a faulty phone as mine had (naughty me) been sitting next to the sound desk perfectly fine. This could have been the reason.
Curtis, you have a very pleasant and pure aura, it seems like through your eyes, the sould of a prince is shining through. Based on your videos, I decided to go with the F4 (mixpre 3 is 60% more expensive in Europe and F8=F4). Unrelated: could you elaborate a bit on what you said about the different types of mics (dyn/cond) you'd use for VO vs. narrative type of films? I'm a newbie, deciding on a mic to use for animated videos and presentations (like the ones of Vox, Al Jazeera etc.), podcasts and interviews indoors, and would highly appreciate a few lines from your wise mind. Thanks and keep up the good work!
Hi and thanks so much Rammbock! For voice over, the Shure SM7B and Electrovoice RE20 dynamic microphones are nice in cases where you're recording in a space that is not acoustically treated. If the space where you will be recording is acoustically pleasant (not a lot of reverb or standing waves like most household rooms), then a large diaphragm condenser microphone is usually preferred for its more detailed rendering. I like the AKG C414 XLS. Best wishes!
Watched all three of the segments for this review. Nicely done. A lot of very helpful information when making a purchasing decision. I do have a few questions though. 1: Can you read/rip/delete audio files from the SD cards without removing them from the back via the USB port? Just seems like that could be a pain opening and closing the backplate EVERY time you want to pull a file. 2: If you're using a dual-channel Lav mic system like a Sarmonic UwMic9 receiver that has a single output to XLR Y splitter, does it record both channels separately, or is it recorded as stereo? And if it is stereo, could you just use 1 input port, or do you still need 2? 3: Power options. Have you ever used this unit with a charger style battery pack like an Anker or other such devices? I assume you would need a 5v to 12v adaptor that connects to the Hirose DC input, but I am looking for an economical way to power up for long shoots in-field (where A/C power is non-existent) without having to carry around and change a bunch of AA batteries, or spent a TON of $ on V-mount or L-type adaptors, plates and chargers. As you point out, this is a recorder for the budget-minded Indie filmmaker. Other than that, I am convinced this is the recorder for me, as I am just starting out... GREAT VIDS!
Hi Jason, thanks. 1) Yes, you can connect to computer via USB and set the F4 into memory card reader mode. 2) Each XLR input on the F4 is a mono input. 3 pin XLR cables carry only a mono signal. The UwMic9 actually mixes the two channels of the wireless system down to a mono mix. So connecting that to the F4 (or any other XLR input source on other devices) results in a mono mix from the wireless mic system. 3) I use it often with cinema batteries and a d-tap to Hirose adapter cable. I also have used TalentCell 12V batteries like this one: amzn.to/34Lk5k5 which needs an adapter cable like this: amzn.to/307SHOV
@@curtisjudd Thanks for the reply. Ordered the F4, and a 5v to 12v 2.2mm adaptor to use with the supplied Hirose plug. My Anker is rated at 21800MaH. That gives me 261WaH, with a draw of 12Wah for the unit, so that SHOULD be enough to keep me powered up for a good deal of time. Guessing around 19 hours or so if I don't use phantom power for anything... IF my math is correct of course! (MaH x V/1000 /12WaH)... Guess we shall see.
Absolutely, anything that has an output which can be adapted to 4 pin hirose. I use Anton Bauer batteries and a cable which takes d-tap out of the battery and adapts to 4 pin hirose to go into the Zoom. There are also smaller NP-1 style batteries and even some others like those made by AudioRoot. Unfortunately, none of them are as cheap as Sony NP-F or USB batteries. But I'm on the search for a lighter solution than my Anton Bauers and will have an episode when we find a solution.
Hi Curtis. Brilliant review. I am planning to use this recorder purely for sound scapes. I want to build up sound scenes and then stereo mix them. I am planning on using the Rode NT4 as a microphone with a Rycote Basket shield. I am also planning to use a pair of Audio Technica ATH M50 headphones. What do you think. I am purely an amateur enthusiast sound recordist who comes from a time when Uher and Nagra ruled the waves. Now I am retired and on a limited budget I thought this the best way to go. I will be recording some wildlife and general sound effects. Thanks again for fantastic reviews
Hi Chas, that sounds like a great kit. The NT4 will be good for general ambience. For wildlife, many use mono shotgun microphones to isolate the pickup a bit more since you usually cannot get too close. Then you can also capture a separate stereo ambience track with the NT4 and mix them together. The RODE NTG3 may be worth a look as far as shotgun microphones go: amzn.to/2i00rrG Or if you need to keep the cost down, the NTG2 is also a good option: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GlQ32DwdpEw.html Best wishes!
Hi Curtis🙂 Thank you for your amazing work and content! I am a singer-songwriter and musician who wants to make an album that some of it based on field recordings, such as guitar & vocal with one mic, string quartets, and brass, etc... that will be filmed and recorded in interesting locations. The idea is to catch an authentic performance with the acoustic of the places. My dilemma is that I want to keep the option of recording in a home studio and to be able to mix and arrange things by myself on the DAW (I'm using Ableton). I thought to buy the Apollo Twin for studio purposes and the Zoom F4 for field recording, I heard it got really nice preamps yet the Sound Devices are better in quality. So I'm thinking maybe instead to buy one of Sound Devices interfaces, such as the Mixpre series or something else, and use it for both studio and field recording purposes. The sound quality is in my top priority, I'm thinking of filming the videos with iPhone 14 and buying AT4050ST (for field/ensembles) & TLM 103 (for the studio) mics. What do you think would be the wisest investment in my case? Thank in advance
Ok, so I have money to update my studio audio. I currently record all my audio onto a Zoom H6 with an Azden SGM-250 on a boom. Do I jump straight to a Zoom F8, or instead, a Zoom F4 and maybe a new microphone? I'm struggling to justify the F8, but I've learned before that I often grow into tech like this and I may be missing a significant benefit of the F8 over the F4.
Hi! I think that depends on which problems you are specifically trying to solve with the upgrade. Both the F4 and F8 are great recorders and their preamps are quite improved over the H6. The screen on the F4 is much lower resolution than the H6 or F8 but it works decently and can be seen when in direct sunlight which was not necessarily the case with the H6. The build quality of the controls on the F8 is better than the F4, but it also burns through batteries more quickly. Do you need 8 mic inputs? Do you need power that lasts more than 4 hours? If so, you'll also want to consider external power options. The included AC adapter is great if you're working close to an outlet. But if you need an external battery, be prepared for a significant investment since you'll need a 12V (USB batteries won't power the F4 or F8). I hope that helps and best wishes!
I doubt I'll ever need more than 4 inputs and it will be studio based, so mains power is fine.Sunlight isn't an issue either, the H6 will be my mobile (camera mounted) solution.I'm not really trying to solve a problem, just get great sound (and I'm already happy), so it's more of an upgrade and an excuse to play with new technology in the deal :)All settings equal, will the F8 produce *better* sound (less noise, more tonal purity etc.) than the F4?Thanks for the reply too :)
Great question, no, I don't hear any difference between the F4 and F8. The specs differ on the preamps very, very slightly but I cannot hear a difference. And since you'll be working indoors near mains, the F4 will be a worthwhile upgrade over the H6. Good luck!
Thank you for your review on the F4 (and DR-701D). I'm in the process of choosing wisely for a fieldmixer. I was tempted for the DR-70D, but your video made me move towards the 701. But after watching this video, I might wait and save up for the F4. Especially because I've experienced the benifits of simultanious-recording on 2 memorycards in a Canon C100 and the F4 can do that as well.
Hi, I'm really happy that I found your channel, and might get view from somebody that is working in this area. I'm planing to buy some recorder, my budget is about 300€ and plan to record mainly ambient|city sounds. First I thought it would be Zoom H6(312€), but I read that the amps are a bit noisy, so started thinking about Tascam DR-70D(300€), I like also Tascam DR-701D(485€) but it is out of budget and now I found one used Zoom F4(330€). Do you think that the Zoom F4 would be still good choice or would you recommend something other?
I have this recorder but I can't hear the audio out of the headphone output clean. can you suggest something to make it sound more clear and better because for me it sounds a bit distorted. I have the h4n and I can hear the audio great when im monitor. Is there a headphone amp we can hook up to make it sound better when monitoring.
Hi, interesting. The headphone amp on the F4 is better than on the H4n in my experience, There may be something wrong with your copy. I'd recommend contacting Zoom support to confirm.
Curtis Judd wow for real let me look into it because I tried it the other day and the voice was low like there wasn’t enough gain maybe I didn’t have phantom on. Thanks for the reply I appreciate what you do be blessed.
I bought the Zoom F4 and am very pleased with it but do have some thoughts. The LR mix tracks seem useless for what I do. I would rather be able to record my Iso channels and what I have assigned to my Main output but haven't been able to get the menu to do that. Maybe a Zoom firmware upgrade would allow this choice. Also the headphone routing seems awkward. I haven't been able to figure out a good way to use the return function to check on a camera recording while using the F4 as the mixer. Makes me want to keep my old mixer with me for monitoring purposes.
Hi, thanks for the thoughts. I would think that both of those are possible once the routing is set up correctly. Is the issue that when you define which channels are mixed to which channel, it isn't doing it - like a software bug? Or you don't understand the routing page and to get it to do what you want it to do? Best wishes.
Hey there, I just recently bought the Zoom F4, but when I record with my Rode NTG2 I have to set the Trim pretty high to get the peaks to hit around -12. Unfortunately when I do this, the noise in the recording is very noticeable and unpleasant. Any suggestions to help get a cleaner recording?
+Maladaptive Films sure. Tell me a bit about the recording situation. Is the room quiet? How much distance between mic and person speaking. Is the mic boomed from above and aimed down? Mounted on the camera?
Thanks for responding! The room isn't super quiet, it's just in a bedroom in my apartment in the city. I had the mic about a foot away from the person speaking, and it was boomed from below not mounted to the camera. The recording sounds fine, but I feel like there is quite a bit of noise/hiss because of how high I have to set the gain. When I take the audio into Premiere and normalize the level this noise/hiss is very present as opposed to your recordings.
I basically want to record, mix/master high quality music in remote locations as well as the ability to do live video pieces (documenting travels through music-videos and song for RU-vid consumption). Acoustic guitar, electric guitar (no guitar amp -directly into interface -guitar effects in post via iPad apps ...or possibly realtime would be great), as well as male rock vocals. An iPad Pro 9.7 (256gb cellular) will be the only computer available. Microphones are SM7B with fethead booster and SM57. F8 has the Bluetooth feature and nicer screen. Do you think that's the device I should go with? I can also record a drum kit if I need to with the F8, but not a critical factor.
Unfortunately, the F8 misses just one of your requirements: It does not support direct input from electric guitar - you would have to pass it through a mixer or other preamp which supports passive inputs. Otherwise, it seems to like a good option for you. Best wishes!
Thanks for the review. I bought the Zoom F4 today after watch a couple of yours videos. Now i amd selling my Tascam D70 who have been a great companion for years. Three things "converted me". No "dropframes", noise and audio interface. The only negative is the weight... (or possitive thou it is more stubberd). Hope i got my english ok... Thanks - and i can feel the quality. Soundwise i don't have a clue but sofare sogood. Happy summer/R
Great video. I am definitely going to pick up one mostly because of your series of reviews. I'm not quite up to the level or have the budget for a 633, so I think this is a perfect choice until that time comes. Thanks a million!
Confused. Zoom F4 has its own built in timecode clock which can be connected to a Sony a7iii. The Sony also has a way to setup timecode. Where does the use of a Nanolockit come in? If you are plugging in the F4 to the camera, doesn't the camera already have a sync established? the Ambient Nanolockit seems like overkill, or am I wrong. If you can't guess by now, I've never done this before but what I can see is things are getting expensive.
Gold standard reviews every time. Thanks, Curtis! This looks an excellent proposition for the money. I have one question for now: can phantom power be switched on per input or is it a case of all-on/all-off? I ask because one of the things I've noticed about many entry level devices is that normally there only seems to be a single setting for phantom power which I think lacks flexibility.
+TheNorliss thank you! Yes, phantom power can be applied to each input individually. This is done by pressing the PFL button for the channel and switching on there or you can also switch on phantom power for all channels in the main input menu.
Hey Curtis, excellent content here after watching a few of your videos I can say I appreciate the depth of your coverage on the pieces of gear that you use. I do have a question: you mentioned extreme applications of field recording for film, I was just wondering in what situations would push the gear to the limits, offhand or in your own experience? Thanks a bunch!
Hi Chad, Thanks! This other video will describe this in more detail: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--5Q09Iro33c.html The main idea is that the pro level gear has a series of features which film production mixers need but which enthusiast content creators don't necessarily need. Some examples include analogue limiters, much more extreme channel and output routing, high pass filters in the analogue stage rather than in the digital domain, and more. In short, these features allow the pros to provide com feeds for various crew members, wireless hops to cameras, and other features which help ensure that the sound mixer on a film set is not responsible for messing up and requiring a retake. Hope that makes sense.
Great Curtis, as always. I would ask you which one is better between F4 and 701D, in the same price range? As preamp they should be quite equal, a bit better the F4, but so little difference... I think about 701D HDMI sync with cam, it could be interesting. For the rest, it seems F4 is better, but other Pro/cons from you about these? Overall, which one? Also, 701D is quite one year old, do you think Tascam will put out a new model soon?
Hi, thanks! I really perfer the F4 after having used both the 701D and F4 for a month. The 701D's timecode seemed rather poorly implemented, at least on the copy of the recorder I had, and that's important for my workflow. In terms of preamps, I subjectively prefer the sound of the F4 as well. The HDMI control on the 701D is a good idea but has some limitations such as the fact that the HDMI port cannot take a 4K signal. I want to be clear: The DR-701D is a good recorder. I just prefer the F4 for my workflow.
Many thanks Curtis for your excellent recorder reviews. It's all your fault that I have Zoom F4 on its way for Christmas! Should be exciting. I don't have too much room but do use a Mac, have KRK VXT4 speakers (without the bass padding), KRK KNS-8400 cans (which almost match their sound), 2ch and 8ch Focusrite interfaces. No, I'm not copying Ha! Ha!! Out of interest what else is behind you?
+Peter Allen haha! I take full responsibility for that F4 purchase. There's an old analogue channel strip - Focusrite TrackMaster Pro and an Antelope Audio Orion Studio interface. Happy Christmas!
Great review, Curtis. The main cons on my F4 is the mic/line-in. My radio mic has xlr out, I have a stereo mic that has 1/4 outs. That means expensive bulky adapters. I mean how much would 4 switches have added to the price? Other than that I find the F4 more than adequate for my needs
Hello Curtis. Thank you for taking the time to give us some very helpful insight on all the field recorders. Very well done. Wondering about the hash marks on the F4 in the display? There are no numbers to represent input level. Typically, you will see at least 0, -6, -12, and so on.
Hi Bigdogfilms, The F4's screen is definitely one of its weaknesses. Its resolution is so low that it cannot display the values for the meters except on a custom meter screen. You'll need to go into the menus and set up a custom metering screen which only shows 3 or 4 tracks - going by memory here - so that it will display what the hash marks actually mean.
@@bigdogfilms6836 If I needed balance outputs, probably the F4. If not, probably the F6. Lots of other factors depending on what types of projects you're doing.
Nicely done, Curtis! I have learned a lot from these videos! I am an indie filmmaker. My budget is less than a SD 633, but I could afford either an F4 (with an EXH-6 module) or the F8. I see some potential ergonomic advantages to the F4. But if it came down to functionality (even if you have to dig into menus, etc) what can the F4 do the F8 CANNOT do, and vice versa? The F4 has dual SD Card slots and the F8 has only one, correct, so if dual recording was a "Must" then the F4 would be the choice. The F8 Main Out 1/2 are TA-3 Connectors, balanced output (2: hot) whereas the F4 is Balanced XLR: advantage F4 (lowered cost to buy more gear), but not a deal breaker. The F8 has the iOS App and the F4 does not. I wish there was a full comparison chart somewhere... I have not seen one anywhere, have you? Oh, and there is this on the slate tone for the F4... does the F8 have the same problem? "The MAIN OUT 1/2 and SUB OUT 1/2 faders do not affect the level of the slate tone."
Hi, thanks! I would choose the F8 over the F4, personally, but everyone has different priorities. Also, one correction: The F8 has dual SD card slots and does dual recording. Also, for safety track recording, the advantage goes to the F8 because each channel takes up two inputs so on the F8 that allows you to still record 4 microphones. The main thing you do NOT get with the F8 is the shortcut button and the larger knobs. The F8's screen is much, much better, the iOS app is great for entering metadata. Having the capacity for 4 mics when safety track recording (not counting any add-on inputs) is great. I am hoping to get the time to put together a course on working with the F4 and F8 and adding a comparison chart would be a nice addition (also a table available online, generally). That's a great idea, thanks! I haven't noticed the issue with the slate tone on the outputs, will have to give that a test. That also sounds like something Zoom should be able to address in a firmware update if it is an issue on the F8.
Hey Curtis, very quick question: do you reckon the F4 makes a better audio interface than the Audient ID14 (i.e. a dedicated audio interface)? BTW I bought the F4 based on your videos.
The F4's preamps are good, but the Audient is probably easier to use as a daily audio interface. I really see the F4 as an "Audio interface in a pinch, like when you're on the road and don't want to carry multiple devices..."
I have this recorder and my shotgun mics sounds great but my lav mics sound very noisy and thin is there something i need when dealing with lav microphones.
@@weshootfilms Ah yes, both of these need plugin power. You'll need an adapter like the RODE VXLR+. It is critical that you use the + version because it converts the 48V phantom power to 5V plugin power. If you use a standard XLR adapter, your microphones can be damaged. VXLR+: geni.us/GWh0o
I'm always working on a budget, so I was glad to see that the Zoom F4 had dropped from the $649 that you mentioned on this video to $549. I was just getting ready to order when I got a price change notice from B&H. The Zoom F4 is now $449. WOW! This is a steal at that price.
Great review, as always, Curtis. I did notice something funny in that your microphone kept slowly dropping in the frame. Seems like the boom arm was a bit loose. Did you have to account for this in post?
Haha! Sharp eyes! No, fortunately there didn't appear to be a major difference in amplitude so I didn't have to do anything out of the ordinary. But it might be time to invest in a mic stand that can hold a heavier mic. :)
super helpful as i am testing the zoom f4 to see if it will earn a place in my production bag. with all the hue and cry that i read online, the zoom f4 digital limiters might just be better than what's on the spec sheet. now if you can only run a test about the fuss over line out levels and the line out levels on the slate function! thank you for the effort and the sharing. i am a very satisfied subscriber. thumbs up.
Great review! Hey Curtis, quick question... can the additional mic inputs (ie: #5 and #6) provide phantom power, or is it like the H6, in that these are standard inputs that cannot provide phantom power?
Hi Curtis. Love your vids. I have just ordered an F4 (as a 50th birthday present!). I have a Zoom H6, which I love, but was looking for an upgrade (you have a video on it, too, no?), and was surprised that I couldn't find a comparison video. I am anxious to find out what I'm getting over and above the H6. Any enlightenment?
Hi Dermot! I haven't done a comparison (I only borrowed the H6 for a written review I did several years ago). But you can expect a lot more clean amplification (gain) on the F4, more robust body, timecode, better outputs (XLR), more powering options, redundant cards for safety in the case of card failure, and others. It is definitely an upgrade with the preamp quality alone. Happy birthday!
Hi Curtis I purchased your Zoom F4 course and love it , it given me the confidence to use the F4 with second guessing myself. but I did want to ask a question. I have tried to connect my K&F concept M8 wire lav system reciever and the rode wireless go receiver to my zoom F4 via The xlr channels. To make it work I purchased both XLR to 3.5mm or or 6.5mm TRS to 3.5mm jack but neither work and I have to raise the gain so high that the audio is unusable. I am only left with connecting via channel 5/6 and that works fine. What I wanted to ask is am I doing something wrong that wont let me connect my wireless receivers to channel 2 and 4. Sorry for asking via youtube but could not work out how to contact you direct. Any advice would be appreciated. Thanks jF
Hi JF, you are welcome to contact me directly. You will find my direct email address on my RU-vid channel on the About tab. You should have also received an email when you purchased the course from my email address. You can contact me there any time. My suspicion is that perhaps the XLR inputs are set to line level rather than microphone level. Can you confirm? They should be set to microphone level for the Wireless GO. I am not sure on the K&F, but let's start with the Wireless GO.
@@curtisjudd thanks curtis will look at that I do remember having an email with the course. But my email box is so overwhelmed I most likely deleted by mistake . Big thanks as always and will let you the outcome. Jf .
@@curtisjudd hi Curtis just wanted to thank you for your advice. It did work a little bit better but still too much noise, so am going to leave it and just use channel, 5/6. Did look for your email address under the about Tab but could not see it. Safe isolation for you and your family . JF
Hi Curtis, I’m looking to buy a second hand field recorder as someone who wants to make some short films with a few friends. I’m currently looking at one roughly sat around £250 on eBay. Would this be a good buy? Also I’m looking at buying the sennheiser mkh 416T. This version of the 416 was industry standard in the 70s, but I’ve heard it sounds almost the same as the 416. All I need is a t power to phantom power adapter. Is this a good idea, or should I look at the rode ntg 3/5. The 416t is £450 with a pistol grip, blimp and dead cat, along with an old sen lav mic. I think this is a pretty good deal, but I’m sceptical about the age of the mic. What do you think?
It depends. Used gear is a bit more of a gamble. Even the F4, which ZOOM no longer produces and doesn’t repair, is a fair bit of a gamble. I can’t really answer for you, but I usually don’t buy used.
Another excellent review. You make the F4 seem so good that I am trying think of a reason to get one! You said you tested the mic inputs for noise with no mic plugged in. Not clear if you did this but you should short input pins 2 to 3 for a test like that. Otherwise you can get flaky results.
I did not short pins 2 & 3 so that's good to know. That connects the hot and cold leads, if I'm not mistaken? Now I need to redo that test. Thanks for the info!
Curtis Judd There is no hot and cold pin, pro mic inputs are balanced so pins 2 and 3 are the two inputs of a differential amplifier. Those levels float above ground so in a sense they are both 'hot' with respect to ground.
Curtis Judd just to be clear the reason you short out pins 2 and 3 is to guaranty the preamp input voltage you are testing is 0.0 volts. If not shorted, the voltage can float to a level based on surrounding electrical activity, RFI, EMI, static.
We just sat down to test out the F4 to record a podcast and totally got stumped with the dual channel record! (Couldnt’ turn it off) - found this video again and it solved it!
I am happy that zoom step their game up with the F4, the F8 was a disappointment in my opinion. the noise floor in the F4 is three times as loud as the sound devices at +52 dB which is impressive, since sound devices chip-set are over $12 a set. My question to you is the audio out monitoring on the head phone jack accurate; meaning is their any false noise from turning up the volume on the headphone out that won't be present in the actual recording? Will i be able to use this device as an audio interface for a DAW?
+Clarke Inverary on the F4, the headphone output is usable for monitoring. It is not perfectly accurate with what sounds like a high frequency peak. But again, I find it completely usable for location recording. And yes, the F4 can be used as a multitrack interface for recording to your DAW.
Wow that's a shame what another disappointment, I wish zoom would sort this problem out. I like like to see a video of someone using it in interface mode connected to a pair of monitors.
Hi Clarke, I don't want to mislead. The F4's headphone output is perfectly usable. I am not convinced that the SD 633's headphone output is perfectly accurate either though I definitely prefer its sound. This is not a deal killer for me.
Great review Curtis! Would've loved more self-noise samples, especially compared to SD. How well do you think Z4 would cope with ambient outdoor recording of a silent source (night in a forest, or water drops in a silent cave for example) in terms of noise. Let's say I use a NTG3 mic for more direction (13db self noise) and (2X) NT5 for a wider perspective. Would it sound professional enough do you think? Fostex DC-R302 didn't cope well with it. Thanks!
Hi, thanks! Yes, I think it would be very professional but I haven't used the Fostex so I don't know how it compares. If you are particularly sensitive to noise, you may want to consider saving up for a Sound Devices recorder. They are quite expensive, but if noise performance is at the top of your list, they're worth considering. They can be found on the used market. You could also look at a SD preamp to feed into your Fostex as a solution. Best wishes!
Thanks for reply. Sounds good:) I had in mind getting a SD in front of the recorder (MixPre-D, USbPre 2 or even a 552) which are cheaper than a 7XX series. This will help me save some $$ for a MKH40 or 8040 mic. However, I have a feeling this combo won't help much as the AD/DA dynamic range of Fostex is lower than SD, so basically I would lose the SD quality in the recording process. Not to mention ... more cables = more noise. Am I wrong to assume this?
Yes, you will be best served by a Sound Devices recorder or mixer/recorder. I don't know what the dynamic range is of the Fostex. The AD convert can certainly affect the final sound quality but only testing would tell us exactly how much. I wouldn't worry about using balanced, high quality cables. Plenty of sound effects recordists/mixers do that with top notch results.
Hi Curtis, great video, was wondering about the quality of the audio when recording ambiance tracks/quiet sounds. Did the F4 hold strong and produce clear high quality audio or was there noise from the pre amps that got in the way?
Hi Matthew, the preamps produce very little self-noise so the F4 performs very well, even for quiet sounds - much better than many of the consumer level recorders from Zoom and Tascam. This is definitely the next higher league in terms of pre-amplifier quality.
Thanks Curtis, decided to get one of these for my coming documentary. The safe recording feature on a second channel was a big seller for me as my main interview/film subject can be rather animated-expressive and go from a normal voice to near yelling rather quickly and unexpectedly. Will sometimes be working in conditions around 30-35C hopefully the unit can handle it. Thanks Gerry
I recently picked up one of these (loving it) but I've have not found a video, nor text explanation, about actually using the input 5/6 3.5mm input as far as adjusting input level goes. I have "set the menu settings" for it, but the level meter does not show a very strong signal, nor is it very sufficient in headphones with headphones volume all the way up. I have a wireless mic receiver plugged into it (Saramonic Blink 500 Pro). Am I doing something wrong? I have the LEVEL set to -10dBV and switching to +4dBu makes no difference. INPUT is On. FADER is +12.0dB. PLUG IN POWER on or off seems to have no impact. I seem to get -35 to -20 dB if I project my voice. I've been through the manual and it is kinda vague. I have not seen anyone demonstrate using this jack. It seems to be overlooked. Can you offer any help? My Azden SGM-3500L sounds fantastic recorded on the F4. Thanks.
Curtis, have you experienced or heard of any issue with the F4 not retaining Date/Time settings? I recently purchased a brand new unit for a client for their internal use and with fresh AA batteries in it for setup, Firmware update, etc., having entered the Time/Date in the afternoon, the following morning when I powered it up to make some final tweaks to the settings prior to delivering it to the client, I needed to enter it again...then again for following morning. I returned the unit for a replacement at the dealer and the second unit is having the same issue.
My copy requires me to enter the date when I haven't used it for a while. Not sure of the exact variables. Zoom support should be able to clarify. Best wishes.
Hi Curtis, Thanks for the review. I have a few questions. I'm looking to purchase the F4 or F8 and need some help deciding. I mainly going to use the Zoom to record Interviews sometimes with 4 persons, I want to use it for corpo promotional video and I think the F4 with the FC8 mixer could be the solution. On the other hand, I already own an Ipad and then I could control level from a distance. so few questions for you. Since your review was the app updated and fix? Is the F8 mini XLR output do have more power then the F4. The F4 has a return output but not on F8, is there an easy way workaround that issue on F8? At the end I think you will recommend the F4, I'm I right?
Hi Ermenegildo, I don't think that there is anything that zoom can do to "fix" the app. I think it has more to do with iOS and iPads and how much precision they are capable of with fingers. Perhaps with the iPad pro and pencil there is more precision. I'm not sure on that. Nevertheless, I much prefer the FRC-8 for active mixing. If you're just setting the gain level, the iPad app is fine. It is only when actively working with faders throughout the shoot to make a stereo mix that I find the app difficult to use. I'm not sure about the XLR outputs having more power on the F8. They're both (F4 and F*) capable of +10dBV max. You could use one of the mic inputs as a return and tap that channel's PFL button to monitor the camera return. You'll need to have the camera send mic level via XLR or line via 1/4". If you plan to actively mix (i.e., will be moving faders up and down regularly thought out the course of a recording), then I would probably go with the F4 and FRC-8. You could also go with the F8 and FRC-8. The only downside is that the F8 cannot power the FRC-8 via USB like the F4 can. If I could only choose one for my corporate work, I'd probably go with the F4.
Curtis, sorry to be pestering you, lol, and this is non sequiturious to this video, but why do you stuff your bass ports on the Rokit 8's? I, of course, being some weird doppelganger of you, have monitored on Rokit 5's for many years now, I used to use the Rokit sub to fill in the precipitous drop in bass frequencies, but I've appreciated the forward facing bass ports on the 5's. AND, have you experimented with various angles of your monitors? There are a couple of theories there, and I used to angle my monitors inwards like you do in this video, but in actually testing my monitors in various rooms over time, I've found that I get a wider representation of the stereo field with monitors that fire straight back. When I angle my monitors in, like you have on this vid, I find the stereo field collapses to a large degree, and you're left with a more L, C, R representation. I am speaking largely to mixing music, and there are no shortages of theories there too, some rock guys like the simplicity and primacy of LCR mixing, but for my work, for music and even audio for motion picture, like the nuance of a fully flushed out stereo field. Sorry for all of the waffling on, but I'd be interested to hear your thoughts on the subject. And, as usually is the case, you probably have a video on the subject, but I just haven't discovered it yet, haha! Thanks, again.
Hi Curtis. Great video. I'm an audio engineer that comes from a music recording studio background. I'm trying to dabble in the film game after getting some opportunity to do so. I'm wondering if I can get by for a while using a Universal Audio Apollo interface for recording (indoor interviews) to Logic X or ProTools or if it is absolutely necessary for me to go out and grab something like the F4 or F8. I can navigate through the UA and Logic software quickly and think it would slow me down if I were working with new hardware. Thanks! Ryan
I have heard that Sound Devices have launched two new Mixers/Recorders/Preamps called MixPre 3 and MixPre. The MixPre 3 is in the same price range as the F4 so I thought: Will you be keen on making a comparison between the 2 once the Sound Devices products become available?
Yes, absolutely! I have an appointment to talk with Sound Devices at their booth at NAB next week and have requested a MixPre-6 from my B&H rep. I'm hopeful this will be another very nice option for enthusiast filmmakers, podcasters, etc. Can't wait to get a closer look! Thanks for alerting me!
Hi Curtis, I just got my F4. Are your XLR ports loose as well. When I plug in my Neutrik XLR plugs the have significant play forward and back, as well as sideways. The fit is everything than snugg. Only the secure button prevents them from being pulled out. Is that normal with the F4/F8? or even intended? i am a little worried. Thanks!
Hi woltn, The XLR ports on my copy of the F4, F8, and F8n don't seem loose. I suppose they flex a tiny, tiny bit when connecting, but I would not describe them as loose.
@@curtisjudd Hey Curtis, If you have time, please have a quick look, I ve recorded a short video to illustrate how much in-out movement there is on my copy of the F4. Note that only the XLR inputs have that much play, the output fits perfectly with the same cable. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-unEzZmfWjuo.html Appreciate your help! Looking forward to your course on the F4!
Ok, I understand better now. This is normal. However, even with that play, I have not experienced any issues with the audio signal dropping out or clicking and popping. Are you experiencing such issues? Originally, I thought you meant that the ports on the F4 were moving within the F4.
As always a great and informative review, thank you! Now that you have an F4 and an F8, how do they compare? Is it really just less pre's? As the F4 is a newer design, I'm wondering if any of the actual hardware is upgraded, e.g. your self-noise test, is it identical to an F8?
I'll need to test self noise on the F8. My subjective sense is that the F4 and F8 are the same in terms of noise performance. The big things you give up with the F4 vs the F8 are the screen, 4 preamps, lower grade physical knobs, potentiometers and menu encoder (more plasticky and less damped), and the iOS app. I think they filled a nice niche with the F4.
Great review Curtis. I realise now that there's a lot to audio recording than what I initially thought. One question. Can I connect my Rode stereo video pro to this recorder? thanks
Hi Narek, yes you could, using a RODE VXLR adapter: amzn.to/2gLgpcr Note that the VMP sounds best when you get it within about 40 to 50 cm of the person speaking. You can hear a demonstration here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TUEmQBZKoBs.html Doing this will make the biggest difference of all. Best wishes!
I don't use the KRKs anymore. I switched to Focal Solo 6 Be. In my testing, the Yamaha HS8 and KRK Rokit 8s measured almost identically in my room. If I were to buy again in that pricerange, I'd be open to the Yamahas or the KRKs.
Hi. You previously mentioned in another review not being able to see numbers on metering screen. You can configure which inputs and outputs are displayed and there are 4 customisable screens available. Reducing the number of displayed channels automatically allows the metering scale to pop up. So you could customise each of the fours screens and have meter levels displayed at all times.
Hey Curtis! I'm looking at upgrading from my zoom H5 to a bag-able recorder that's easier to use in the field on video and film-gigs. Would this be a good upgrade in 2022 or should I look elsewhere? Thanks in advance! -Lasse
Hi Lasse, it would be, but alas, ZOOM stopped making this one. You might look at the F3 or F6 instead. I reviewed each of them: F3: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-THEBOa0UUJo.html F6: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-byMZkEvYRKw.html
@@curtisjudd thanks! I've been looking second hand for the f4 anyways. I'll have an extra look at the f6 but won't be afraid to pick up an f4 then. The f3 doesn't seem to be what I'm looking for with its form factor. Thank you!
Nice Final Review. One more Question... Can you run the TCG to Time of Day? If so, how accurate is it after a day or two when shut down? My SD's 633 is awful after a day or two of non use. I wrote to SD's about this and was basically told it maintains accurate TC for Two Hours after shutdown, then it loses its accuracy, (by about 10 to 20 seconds a day). A $15 watch is more accurate than that. I can't believe they don't address this. My rant. Hopefully, the F4/F8 are better.
Mmm, I'll need to test that. If I had to guess, SD made a design tradeoff type of decision. The two hour limit is to get you through a production day's lunch. Any longer than that and you're looking at serious battery burn. I'll test it on the F4. My hypothesis is that the TCG shuts off when you shut off the device. Then its time to re-jam sync everything when you power back on.
Yes, you can customize the meter views under Menu->System->Level Meter->Level Meter View. If you uncheck one of the four options (one that you do not need), you get the markers to show what each line represents (-48, -32, -28dB, etc.)
@@FinancialInformation Good luck - I hope it works as well for you as it has for me.
7 лет назад
Great review as always. I hope there will be a short comparison review between F4 and H5. I'm planning to buy one for vocal recording and not sure if the f4 is worth it. thanks again.
Hi Rodel - thanks! I'll see about getting an H5 (I don't own one). I assume you're recording with an H5 currently? Is there anything about it that you specifically don't like or is giving you trouble?
7 лет назад
Curtis Judd Thanks for the quick response sir. I don't own one yet. I am still waiting for some good deals the Year End sales. Planning to get the H5, and your review here is very appealing to me. Not really sure how the H5 performs compare to the F4. (note: just starting out learning about audio and your Channel really inspires me to learn more.) Thanks
In my previous tests, the H5's preamps are very similar to the H6's which are very similar to the Tascam DR-60DmkII we tested here. So there's probably a difference of about 10dB in terms of noise floor. That will save you time in post cleaning things up. But if you audience is not listening on high end speakers, they'll probably never notice the difference. So the big thing to figure out is what is your audience going to listen to your content with and if it is mostly earbuds, laptop, and phone speakers, then the H5 is more than sufficient (if you need just 2 mic inputs).
7 лет назад
Curtis Judd . Thank you so much for the enlightment. Probably I'd go for the H5 for the price and quality I can get. (For beginner🤗) Really appreciate your advice. Have a great day sir.
I sold my Tascam DR-701D and am looking to buy another recorder. Now originally I wanted to save up for a Sound Devices 633 but that would take me a while. My main focus is video and do not consider myself a sound recordist or mixer although I know how to get good audio. . The Zoom F8 has caught my attention but the F4 looks promising, especially with the ability to output to the camera. I have a RODE NT3 and 2 sennheiser wireless lavs. At most I would use 3 xlr inputs. Which would you recommend and why? Or should I save for the Sound Devices? Thanks.
Thanks for your vid, as usual, very interesting! A year ago I shoot with a C100 mark II with a Sennheiser on the XLR input and the cam seems to have the same tool than this F4, for the volume normalization. Did you test it? And if yes, do you think it is as good as the F4?
Just saw a Zoom F4 video with a Nikon Z6. Great stuff. Does the mic hookup delete the need for SMPTE sync? Therefore no need for additional equipment and expense?
Hi Ivan, yes, you can connect the sub 1/2 output from this and feed that into the Z6's mic input, send slate tone at the start of each take and use that to sync in post.
Hi Curtis. I am strongly considering one of these for a language-learning podcast I run. My work often necessitates that I go to the homes/premises of foreign language speakers, i.e. in the field recordings although rarely outdoors. I want to minimise as much as possible the work I do in post. What about running my (xlr) mics into a small mixer and then running the mixer into the F4? Would the mixer actually end up diminishing the quality of the final mix? (I already have a small, 4-input Behringer UB1202 although I am aware that it's showing its age.)
Hi Hugh, It could work, but I would think that something like the RODECaster Pro may be a better fit as it has more real-time processing and is more ergonomic for the types of situations you cited: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-BMfsjXASlgQ.html
@@curtisjudd Thanks for that. The plot thickens, in fact. Apart from the podast recordings, I also quite frequently make classical music recordings for which I would obviously like the highest quality possible. I looked closely at the Rodecaster but it's steep here in Europe (650€ vs 500€ for the F4).
I guess I’m not entirely clear on which practical issues you’re trying to solve by adding the Behringer mixer to the setup. Is that because it has faders which are easier to use? It has some in-built processing/effects?
@@curtisjudd On the podcasting side, one of my speakers - a male - has a slightly 'thin' voice. On the other hand, one of my female speakers has absolutely perfect diction, almost too perfect. Sometimes, I feel I need to soften the high end for her. To avoid this kind of eq-ing in post, I just thought a quick couple of fader tweaks would be a lot more simple... But, perhaps I am over-thinking this one and could do without the mixer. I suppose the xlr rode mics I have (several nt3s and an ntg4+), combined with either the Rodecaster or F4 would give me excellent results. As I say, I'm leaning towards the F4 because of the classical recordings... and the fact that it's 150€ cheaper.
@@hughan00 Makes sense. The F4 is a great recorder. The only reason I suggested consideration of the RODECaster is that it has a de-esser (for your speaker with too much high-end) and the "Big Bottom" effect for the speaker with a "thin" voice. The F4 doesn't have those. But again, the F4 is quite capable and can be set up so that the channel knobs act as faders so you can at least balance out the levels. Best wishes!
Hi Curtis, first of all, thank you for all your reviews. They have been really helpful. I have a question: I hear that the headphone amp in Zoom recorders are not that great. However, are they still better than the internal headphone amplifiers in a laptop? Or worse or the same?
Did you test playback of a BWF from the F4? Specifically does it output the timecode from the file - i.e. for shoot to playback. You prepare BWF files with desired timecode from your DAW and then play them back along with timecode output.
Hi Curtis! I recently purchased an F4 and am getting to grips with it, can't wait to start using it on projects, how do I mute the individual channels so if have to plug multiple microphones in (some with phantom others line and mic level etc) I can do so without any minor pops or gain spikes occurring? Love the review as always! - Jack
Hi Jack, to mute a channel, you simply press the channel (numbered) button to disarm the channel. I'd also recommend turning off the phantom power before connecting a mic. You do this by pressing the channels small PFL button and go into the phantom menu. Good luck!
great review! just wondering when recording with all the channels (multiple mics) does the audio save as one file or does it split them for each channel? Thank you
Thanks! You can configure it to work either way - a separate file for each channel/mic or a single poly file with all of the channels. You can also decide whether to add a stereo mix.
I'm thinking of pairing this with the NTG5. There is a really good deal on bnh that includes a K-Tek pole, zoom f4, and ntg5 for just under 1200. I create short films and narrative pieces. Do you have any thoughts?
Hey good review. Now I have got F4 but what are my options for a external 12v dc portable battery pack? Which one would you recommend? Which ones are quite cheapish?
Hey Curtis! I'm having trouble with my F4. It froze while I was changing settings and I had to remove the battery because the unit was not responding at all. But now it will not boot. It's stuck at the initial F4 logo and does not progress. I've searched online but I can't seem to find a solution nor anyone with the same problem. I tried updating the firmware but nothing changed. I already had the latest firmware but I updated it in hopes it would reset the system. Do you have any clue of what is the problem ? Is the unit compromised? Thanks
Oh no, that sounds like a corrupted firmware or perhaps a hardware issue - not something I’ve seen on the F4 before. Probably best to get in touch with Zoom support. Best wishes on a speedy solution.
Now that you've worked with the Sound Devices MixPre-3 at the identical price to the Zoom F4, which would choose for your corporate video work? How about my friend who wants to capture bird sounds to go with his ultra-high quality bird photos and videos? Currently he relies on his camera and a Rode Video Mic for bird sounds. I hate to put you on the spot like this and won't blame you if you don't respond.
Hi Rex, this is just my personal opinion, but for my work, I'd choose the MixPre. I don't think that applies to all situations, however. There is still very much a place for the F4. If one needs a mixing control surface, like the Zoom F-Control, the F4 is a better choice. Need redundant SD cards? F4. Need balanced XLR outputs (even if they are only consumer line level)? F4. Need Hirose power input? F4. Need integrated TC generator? F4. But there are some very compelling features on the MixPre which are very useful to my work. The analogue limiters are a big deal. The size is helpful (the MixPre-3 is significantly smaller than the F4). I prefer the potentiometer/knobs on the MixPres. The screen on the MixPres are quite a lot better than the F4's. Hopefully that's helpful!
Hey Chris, if I'm using a preamp with compressor, minimizer, and eq in it, would I still need a good recorder like F4/F8n, or would a budget one do like an H4n?
Any recorder will record. If you're using an outboard preamp, that will do the heavy lifting of amplification and processing. Then the recorder just needs to take the line level signal and convert it to digital. That can be a delicate process so if high quality is the number one goal, then I'd go for something more like an F4/F8n rather than an H series recorder. If good enough is good enough, the H4n can do the job.
@@curtisjudd *Curtis Thank you for the value of your response. One last question if you don't mind. Would any of those recorders take a line level input signal in order to record without preamping or anything else? If so, which and how? Also, did you mean 'higher quality', as in the resolution of the file, or the entire recording process in general? H6 and F4 wouldn't be so different if speaking of line-in signal l, would they?
Love, love, love your videos, Curtis. New subscriber here. Question here - Would there be a large difference in sound recording quality if I plug my Rode Wireless receiver into a Zoom H6 vs plugging into a Zoom F4? Wondering how the preamps play out in this scenario. Because I'm having to adapt to XLR from the 3.5mm mini, am I losing sound recording quality to the extent that the difference between preamps wouldn't matter?
Hi Xavier, I would not expect a big difference either way. I use my RODELink receivers with the VXLR adapter into my recorders (F4, F8, Sound Devices) all to good effect without a lot of noise.
Hey Curtis, great channel, thanks for your help :) Even though you can get about half a production day out the F4 I'm looking to get a full production day out of it without fiddling with AAs. Can you recommend an 'overnight rechargeable' DC battery pack with a portable form factor that will power the F4?
Steve Lopez below posted that he's using a RAVPower USB battery: amzn.to/2jEgLCr This is probably the lest expensive option I've heard of for this purpose. I use Anton Bauer Digital 90 and 150 batteries which easily power the recorder all day but are quite large, heavy, and expensive. I haven't swapped them out for something smaller because I don't have the budget at the moment.
Awesome vid as always. Also just watched you MixPre video. Question, on the F4, can you switch the type of input from Line level to Mic level and vice versa like the MixPre? Or is it fixed that XLR is always mic level and TRS is always line level. Like you I get XLR feeds from boards and would love to be able to switch the XLR input to line level.
Here it is... for a narrative and scenes with actors (even though I have the leeway to be highly “theatrical”) I have four Movo PM10 (wired) lavs... might that be gud enuff? Or should I really be looking at booming with a highest quality Rode or Deity or Senn mic? As I understand it, the boomed mics will give a better BASS (and “it’s all about the bass”)
I haven't worked with the Movo mics so I cannot comment on those in particular, but lavalier microphones can often pick up plenty of bass, especially when mounted to the chest of actors/talent. Let your ears tell you whether they are good enough. You are an expert as you've been listening to dialogue since birth. I don't mean that in a disrespectful way at all - I mean that to empower you to evaluate whether your mics are good enough. I believe in you!
Hey Curtis great review here and I really look forward to buy a Zoom mainly because of metadata ... I have one question about that. When using a recorder that doesn't support metadata we do it with a computer. Do you know of a most efficient way to batch enter iXML metadata (mainly scene/shot/take numbers and description) than Sound Devices' WaveAgent? Which is kinda cumbersome. Moreover, recorders often store multiple channels on several stereo files. Do you know of an easier way to merge those to polyphonic wav files other than Wave Agent again ? Thanks Cheeers
Hi ronfya, Hmm, I use WaveAgent when I need to enter metadata on computer, but I haven't had a need to do that in batch so I don't know of other solutions off the top of my head. Fortunately with the F4, polyphonic files and *some* metadata are supported (naming channels, filenames, scene, take, notes).
Awesome all-around review with the F4, Curtis - this including the limiters/timecode test & 1st impressions. I just recently got the F4 for my own filmmaking practices. I upgraded from a TASCAM HD-P2 (the ol' girl had a real solid run, but it was time to move to some real pro-sumer gear, plus to save my back from a future scoliosis). Got it along with an Orca Mini Sound Bag & a 23000 mAh DC external battery - somehow still made it under $1000! Definitely, I'm pondering as to what kind of control surface the FRC-8 will be like in terms of size and other additional options (the keyboard use and mixing options already has me sold on its theoretical potential). If the guy really ends up being as big as most portable control surfaces usually are, perhaps its high time I invest in a sound cart~ haha
I got a RAVPower 23000mAh Portable Charger. www.amazon.com/gp/product/B00HFMUBYG/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1 I got this DC battery over some of the others on Amazon simply in terms of customer service & reliability. I used to use an XTPower 10000 mAh for my TASCAM but it turned faulty over time (only charged up to 60-70% max after just about a few months). Size-wise, it's still a bit huge (definitely since 23000 mAh is a bit overkill just to power the F4) at around 5x7 in. - about the size of a Kindle. However, since it's nowhere near as fat as an Anton, I was able to easily slide it into the Orca Mini alongside the recorder - with only downside however being that I better make some extra pouches for those wireless receivers. Win some, lose some.
+Steve Lopez thanks! Would be nice if the next gen F4 or F8 had two Sony NP-F battery slots on the back. I'd even give up the extra input interface for that. Even just one NP-F slot would be grand.
I used the HIROSE-DC adapter that was included with the F4 to connect the battery to it. Only issue I had was that the DC cable I had for the battery was a bit too thick to close the little protective door for the adapter so I simply manually cut open a bigger hole so that the cable could go through no problem. Barbaric, yet effective :)
Another great summary / review Curtis. I'm the fella that was raving about Sound Devices pre-amps etc. But a thing I'm gradually realising more and more in video and sound production is the importance of convenience and ease of use. I guess there is a balance between trying to get the "best" equipment, affordability and what works well in the field. One issue about my MixPre-D / PMD661 combo is the weight, in particular, the Mix Pre, which is built like a tank. The second is that I have two sets of batteries to worry about and two sets of control settings to consider. My poor wife is often "sound guy" and interviewer rolled into one at live events we sometimes cover, and has to swag all this kit around and hope everything is working okay. If money was no option I would certainly jump for a 633, no hesitation, but there are greater priorities. The F4 really does seem to have hit a sweet spot on many fronts and when funds are available I will give it some serious consideration (although I will hang onto my Mix Pre-D, but please don't ask me to rationalise that).
I completely understand, when in the heat of a shoot, convenience makes a huge difference. While the Zoom isn't a Sound Devices, it is certainly good enough for many circumstances and very impressive given it's price. Also, yes, keep the 442. There's no reason to get rid of that. It can be a nice front end for cases when you're able to operate from a table or a cart.
Get the Zoom EXH-6 & give that Mix Pre-D a new life! I'm using the EXH-6/Sound Devices MP-1 (& thinking of getting a Mix Pre-D) with my F4 for the best of both worlds..
Thanks a lot for this review. I’ll be using this to take over the main duty for my podcasts and actually as the audio recording for LIVE Facebook videos, that I’ll be using a Slingstudio. Will the sub out work to provide audio to the Slingstudio, as it has a 1/8 inch audio input? Or should I use a different output?
At Interbee 2016, Zoom were showing a new accessory controller for the F8 and F4. It was called the FRC-8. Unfortunately, we weren't allowed to touch the device or to photograph it, but it was essentially a 'mixer' looking device with 8 channels. There weren't any specs, but I was told it would be a wired connection and there wouldn't be wireless connectivity. If I remember correctly, the faders were sliders, but I have to be honest and say that I'm a little doubtful of my own memory as I saw so many different kinds of devices that day, that my memory has gotten a bit jumbled. That said, I'm 80% sure they were sliders.
Hi Curtis! Thanks so much for your great reviews. I have sort of a basic sound mixing question for you. The F4 represents a decent upgrade for me in terms of recorder, so there's something I've been trying to figure out with it. I have been making all my recording level adjustments in gain (trim) mode. But my understanding is that in terms of mixing while recording, you should really have your trim set based on initial recording level tests and then make any adjustments while recording in fader mode. Is this right? The thing is, when I experiment with this I don't seem to see fader adjustments reflected in the displayed levels; it seems like I just hear the monitoring level go up and down. I can't seem to find clear instructions on this in the F4 manual or anywhere else. What do you think? Thanks a lot for your time!
Hi Dicky, great question! Faders only affect the stereo mix track, not the isolated microphone tracks. So what is happening in the case you describe is any adjustments you make to the faders will only influence the stereo left and right meters. Since your F4 is set to monitor the stereo mix with your headphones, you can hear the change. If you change your headphone preset to listen to the isolated tracks, you will NOT hear the changes you make to the faders. I hope that makes sense. You might also find this episode helpful to understand the concept of mixing with faders vs. adjusting gain trim: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-UZ0ygMdIICo.html
Ahh...OK, that clears things up quite a bit. So since I'm wanting to work with the isolated tracks in post I've actually been mixing the way I need to, by leaving the faders set and adjusting the trim on the fly. Is this different from how faders work in higher end mixers, or do they always just affect the stereo mix? Thanks!
This is how mixers work in general, both in recording studios and for live sound, etc. Same with higher-end field mixers (Sound Devices, Zaxcom, Aaton, etc.)
