Topic: Zoom F6 (32-bit float equipped)

[jbell]

I actually used a card that was on the unapproved list in my Mixpre 10 II until recently and never had a problem.  I didn't realize it was on the unapproved list it came with my mp 10 when I bought it. It was what the previous owner was using.

All my SD cards for my Mixpre 6 and Mixpre 10 II haven't been on the approved list and had performed flawlessly.

I'm not sure if I'd trust totally random cards, but at least you have more than one or two that work. Yet another advantage the Zoom F series has over the SD MixPre-II.

FYI, the F6 card list hasn't been updated in a long time and most or all of those cars models are discontinued. Remember that the product name on the card means nothing on these lists; you need to find those exact cars with those exact model numbers in order to be getting the cards that were tested.

So, my advice to F6 users who want to buy a currently available card tested by Zoom is to buy one off the list for the much newer F8n Pro. It's a different recorder, but one with a higher channel count so it stands to reason that cards that perform well in the F8n should also perform well in the F6.

That's very different from what I've heard from other MPII owners. Maybe those were pickier about cards in early firmwares.

I just checked and now SD has a lot more cards on their recommended media list than there used to be. So I will delete that portion of my comment.

[aaronji]

I am curious about all of those other advantages of the F recorders compared to the MixPres...

[dallman]

The recorder may perhaps have issues with certain cards at 32/192, but I record at 32/48 and have never had an issue with any cards in both the MixPre6II and the Zoom F6. I generally shop by price but I do try to stick to a brand that is known. On both decks I generally will run 6 (phantom powered) mics, sometimes 4.

[voltronic]

I am curious about all of those other advantages of the F recorders compared to the MixPres...

That earlier statement was a bit rash, hence my deleting. That said, I think both brands / lines have their advantages in different areas. Advantages for each as I see it (based on my limited time using a MP6-II):

F-Series:
- value per channel
- simpler controls and UI
- polywav, mono, or stereo files
- simultaneous 24 fixed and 32 float recording
- powering - no extra sleds, hot-swappable with internal

MPII:
- higher input headroom in MIC mode
- analog limiters
- better HP amp?
- combo XLR jacks on all models
- nicer trim pots

[darby]

I am curious about all of those other advantages of the F recorders compared to the MixPres...

That earlier statement was a bit rash, hence my deleting. That said, I think both brands / lines have their advantages in different areas. Advantages for each as I see it (based on my limited time using a MP6-II):

F-Series:
- value per channel
- simpler controls and UI
- polywav, mono, or stereo files
- simultaneous 24 fixed and 32 float recording
- powering - no extra sleds, hot-swappable with internal

MPII:
- higher input headroom in MIC mode
- analog limiters
- better HP amp?
- combo XLR jacks on all models
- nicer trim pots

that statement is incorrect... the MixPre-3ii only has XLR

[aaronji]

Personally, I think a lot of those advantages are more preferences. "Value per channel"? If by value you mean dollars, OK. I would rather have the analog pres, though, even if they cost more. I couldn't care less about poly WAV; I find it to be the most convenient format for archiving my original files and it is seconds of work to get it into any other format. I also prefer the UI on the MixPre; the very responsive touchscreen makes it super easy to navigate quickly and I find it to be well-organized.

To me the only real advantage of the F series is that battery life is better, but that is the necessary trade-off for analog pres, (adjustable) limiters, and (adjustable) low-cut filters. I prefer the build quality of the SDs, how the shape fits my bag, and the much better mic input (lower minimum gain, higher max input). Sound Devices also has excellent customer service, with repair facilities in the US and Europe. Although I don't have much use for it, I would even suspect a better implementation of 32-bit float, based on their patent, which implies three ADCs and a novel algorithm for combining the streams.

Pretty much a personal choice based on what a given individual finds most/least important in a recorder...

[Organfreak]

I tried both the MP3 and the F6. Using 2x DPA 4090 microphones for a pipe organ recording. The MP3 sounded a tad warmer, the F6 a tad clearer. I preferred clarity.
In addition, I found the power options and design of the battery sled of the F6 a big +.
The F6 uses the THAT1583 IC as mic preamp. You will need a real good analog circuit to improve it, but it's also dependent of the components around this chip. 
The second generation Zoom headphone amp as used in the F6 is good enough to drive my AKG K702. And sounds better than my Creek OBH21 headphone amplifier.

[dallman]

I have the Zoom F6 and the MixPre6II. I like both of them a great deal. I prefer whichever one I am using. I have them in different cities, and each time I am using one model, I swear I like it better then the other. It comes down personal preference, but both do a great job and free you to worry about other important things like mics and mic placement.

[Phil Zone]

I just got mine!

Am I crazy or can you not control the gain in 24 bit mode with the knobs? When I am in that mode it controls the level in the LR mix even though I have it disabled... Any thoughts?

[dallman]

I just got mine!

Am I crazy or can you not control the gain in 24 bit mode with the knobs? When I am in that mode it controls the level in the LR mix even though I have it disabled... Any thoughts?

Without getting too detailed as there are many options and ways you can control tracks inputs and outputs, but you do control gain (referred to as trim by Zoom) in 24Bit mode through the knobs. Each corresponding knob matches the track. Your LR mix levels will go up or down too depending on how that menu is set, as that is done in a totally different menu. Even with LR mix  disabled you will see those levels on the screen. That said if you adjust the trim for track one, track one should go up or down on the screen in accordance. Same for the other 5 tracks if they are turned on.

[Phil Zone]

I just got mine!

Am I crazy or can you not control the gain in 24 bit mode with the knobs? When I am in that mode it controls the level in the LR mix even though I have it disabled... Any thoughts?

Without getting too detailed as there are many options and ways you can control tracks inputs and outputs, but you do control gain (referred to as trim by Zoom) in 24Bit mode through the knobs. Each corresponding knob matches the track. Your LR mix levels will go up or down too depending on how that menu is set, as that is done in a totally different menu. Even with LR mix  disabled you will see those levels on the screen. That said if you adjust the trim for track one, track one should go up or down on the screen in accordance. Same for the other 5 tracks if they are turned on.

Thanks for the reply. Odd that mine does not behave that way... I'll have to keep toying with settings, I dug deep and don't see why it would not be controlling the fader level... I can only adjust via the trim setting on the corresponding input and not the knobs. This is only in 24 bit mode, 32 behaves as you'd expect. Thanks!

[Gutbucket]

Forgive me if this is off-base, as I'm not an F6 user, but with F8 there are mix-setup menu settings that change the behavior of the individual channel knobs.  In the standard arrangement the knobs control input trim.  In another they control fader-mix level, and input trim is instead controlled by switching focus to the channel of interest by scrolling to it using the primary input knob, pressing it to highlight that channel, then using the primary input knob to adjust trim.  I keep the recorder set to that second option so that input trims do not get changed by accident while recording by simply bumping a knob, without having to lock and unlock the knobs.  Most of the time I don't really care how the mix levels are set, but ideally I'd like an option where those are not controlled by the individual knobs either.

[voltronic]

Dallman: I have actually never used my F6 in 24-bit mode, but looking through the manual I'm at a loss as to why your knobs are only working as faders for the L/R mix rather than input trims.

Gutbucket: See the screenshot from pg. 194 of the F6 manual that shows a rough equivalent to what you are describing (though only in 32-bit float mode).

[Ozpeter]

By sheer co-incidence, or due to the net following what I read, this YT video just popped up in my recommendations.  I've not even looked at it, but maybe it's relevant.  Or not.

https://youtu.be/caFWpTk3Aak

[dallman]

Dallman: I have actually never used my F6 in 24-bit mode, but looking through the manual I'm at a loss as to why your knobs are only working as faders for the L/R mix rather than input trims.

Volt, I don't see where I ever said that. In 24bit they are trim, In 32bit float they are faders. Sorry for any confusion.