Topic: Zoom F6 (32-bit float equipped)

[mcfoster]

Haha, I go back to taping in 96, so there is that.  Good idea on the set break swap. This might happen next weekend, if I can convince my buddy Charley, who is probably on this forum to take one for the team. He did just get KM150's though and may want to run into his on deck (the MP3ii). Time will tell.  Cheers...

[voltronic]

Firmware v1.90 has been released. Looks like just a couple minor bugfixes.

https://zoomcorp.com/en/us/field-recorders/field-recorders/f6/f6-support/

[gmm6797]

Has anyone had the F6 just refuse to turn on? I have tried USB, NiMh and even a Sony L battery and the unit will not turn on, it is like is is frozen or locked
I am new to the F6, sorry if this is a simple answer, I did google and could not find an answer for this unit

[roffels]

Question regarding using the F6 for a soundboard feed - would pads/attenuators be needed, or is there very little risk of overloading on this unit?

[mcfoster]

In my experience the zoom F5 and F3 are great for soundboard feeds. They just need to be set to line in for those channels with P48 set to off. Adjust levels just to the point of clipping if you want to float, and definitely run 32/24. It will tell you if an incoming signal is too high. In that case see if you can turn down the gain or ask the sound crew to turn down the output. I always try to do a test run to set levels during soundcheck. I am sure other people will have some more tips...

[roffels]

In my experience the zoom F5 and F3 are great for soundboard feeds. They just need to be set to line in for those channels with P48 set to off. Adjust levels just to the point of clipping if you want to float, and definitely run 32/24. It will tell you if an incoming signal is too high. In that case see if you can turn down the gain or ask the sound crew to turn down the output. I always try to do a test run to set levels during soundcheck. I am sure other people will have some more tips...

Thanks for the response.

If I'm running 32, would I still need to turn down the gain? What's the advantage of also running 24?

[mcfoster]

Sorry, I meant 32/48. You should not have to turn down the gain in 32 bit. Sometimes I an XLR out of the back of a PA speaker and it gives that too hot message. Specifically the F6. So I just turn it down. It will also give that message anytime you plug in a mic or line with the unit on.

[roffels]

Finally placed an order for one of these. Just curious how others here use the extra inputs. I imagine 6 inputs is not close to adequate for a multitrack mix for most bands playing decent sized clubs?

So mostly board patches + mics? Multiple mics for the heck of it?

[Gutbucket]

Pair of mics + SBD (when available) = 4.  So what might one do with the other 2?

• Second pair of mics to compare / patch from another taper's rig to compare
• Additional isolated SBD channels (VOX, etc)
• Four mic array + SBD
• Six mic array

If interested in four and six mic arrays that are purposefully designed rather than just for the heck of it, I have good suggestions.

[roffels]

Pair of mics + SBD (when available) = 4.  So what might one do with the other 2?

• Second pair of mics to compare / patch from another taper's rig to compare
• Additional isolated SBD channels (VOX, etc)
• Four mic array + SBD
• Six mic array

If interested in four and six mic arrays that are purposefully designed rather than just for the heck of it, I have good suggestions.

I'm interested. I mostly tape indoor gigs, and generally can't get too crazy. I do love the idea of making a surround sound mix as a compliment to a good stereo mix.

[Gutbucket]

Attached are what I've found to work well for 4, 5 and 6 channel microphone arrays.  I've yet to roll these new revisions into the now old and dated OMT PDF linked in my signature.

For 4 channels using a pair of cardioids and a pair of supercards, check out config 4 on page two of the OMT4 PDF.  That one works well in more reverberant rooms as well as in great sounding rooms and outdoors and doesn't require spacing a pair of omnis widely enough (the foundation upon which all other OMT configurations are built) making it more practical for many tapers. Of the OMT4 configurations shown in the PDF, configurations 1 & 4 are the ones I suggest trying.

If serious about playing around with surround (It's fun and rewarding), the OMT5 or OMT6 configs will be most appropriate.  Those featuring a rear-facing microphone or pair are obvious choices for feeding the surround channels (a rear-facing pair is best but a single rear mic feeding all surround channels works quite well and much better than most folks expect), but the ones without any rear-facing mics work too by routing the omni channels to the surrounds. You will probably want to route the omnis to to the L/R speakers or sub(s) as well to get sufficient low bass output.  Some configs (such as OMT5 #3) require no mixing at all for surround playback, only level balancing, with each mic feeding its own speaker.

[roffels]

Thanks Gutbucket! Some of those configurations may be difficult for me to implement, but it will be fun trying different things.

[Gutbucket]

If you try them let me know how it goes. Happy to answer any questions.

The big asterisks to the left side, and notes there, indicate which configs to gravitate toward.  Those with a filled-in asterisk and a circle around them are likely to work best for most folks.

Attached is an overview of the general OMT progression with increasing channel count, including the more-compact reverberant room OMT4 without omnis at the bottom of the page.   A lot going on visually with all the options shown, but by outlining the progression I think it helps explain the reasoning behind it somewhat.   I've posted a set of updated OMT3 through OMT8+ config PDFs in the OMT thread about a month ago.  Still working on a few additional sections to finish up the revised full booklet.

[roffels]

This recorder is such a game changer. Just got my f6 the other day, and put it to use at a friends show. This is the first time I was able to hit record, walk away, and just enjoy the music. No worrying about levels. No trying to sync/stretch tracks (I've been using separate recorders) - everything streamlined, and I can just enjoy the music rather than checking my levels or trying to fix my level adjustments in post.

[heathen]

Finally placed an order for one of these. Just curious how others here use the extra inputs. I imagine 6 inputs is not close to adequate for a multitrack mix for most bands playing decent sized clubs?

So mostly board patches + mics? Multiple mics for the heck of it?

On my F8 I use extra channels for dual record at different levels just to be safe, but I guess that's not really a concern with 32 bit (and I'm not sure if the F6 has the dual record feature).