Being curious, I was wondering the answer to the question of which are the most popular? Handily B&H allows you to sort your search results according to “Best Sellers”. I then refined my results to those that interest me: only recorders with timecode in them. (strangely the MixPre3 is not included! But the MixPre6 is??? Odd because they both have the same timecode capabilities, neither have an internal timecode generator but can work with an external timecode source)
I’m a bit surprised at how Sound Devices has managed to out sell Zoom, even with their much higher prices for Sound Devices recorders.
The MixPre6 is DOUBLE the price (when you factor in a TC box purchase) of the Zoom F4 (even though the MixPre6 with TC in the bag, only has four input channels vs the six of the F4). The MixPre3 is even outselling the MixPre6! (MixPre3 is even out selling the F1!) Which I suppose makes sense as the MixPre3 is the cheapest of them all, but makes no sense to me personally as the MixPre3 isn’t “that much” cheaper for how much more crippled its functionality is?! Maybe the ultra miniature form factor is proving to be very popular.
Likewise the MixPre10T which is well over DOUBLE the price of a Zoom F8, yet the MixPre10T is also out selling the F8.
Guess this is why Zoom has recently put price drops on their F8 & F4! As even though I feel Zoom is out competing the low end Sound Devices when it comes to features and price, the market is speaking that the price gap needs to be even bigger if Zoom wants to out sell Sound Devices’ low end MixPre recorders.
Surprising indeed the Tascam DR701D is next on the list when the F4 is only $50 more to get (didn’t expect Tascam to be so high), but I presume this sorting by “Best Sellers” includes ALL historical data (which only makes the newer MixPre rankings even more impressive? As they came out after the F4/F8), thus perhaps the long ish time the DR701D has been around is what has helped push up its total sales volume.
Sound Devices 633 is next on this sorted list, no surprises here? As it would be easily Sound Devices most popular recorder ever, before they brought out the new MixPre recorders.
A damn cool feature I wish would be implemented in the Zoom F4/F8
We ALL have recorders which record to more than one piece of media at once (for a safety back up), thanks to the dual card slots in the F4/F8.
But why can’t we have recorders which allow you to pull out your back up SD card then pop in whatever rubbish SD card the production has brought along (because you seriously don’t want to dare risk recording takes to their card! And losing files or locking up a recorder. As they just don’t understand your specialized media needs) to then copy over from your main card the day’s shoot into their card they brought along (and you could have the option to throttle the speed if need be). Because of course you don’t want to risk using the production’s card during the day’s shoot itself! 😮
Sound Devices MixPre10T is kinda doing that, as they have a USB port which you can copy your single SD card slot to. But what if they don’t bring a USB drive? But a SD card instead…. the MixPre10T doesn’t have two SD slots. I wonder, can the MixPre10T copy from the USB drive attached to a SD card?? Guess that would be a work around, so you could handle either a USB drive or a SD card brought along by the producer,
Anyway…. I hope Zoom could implement this feature to mirror files (or rather, whole folders! 😀 ) at the end of your day.
Much much better option than either using their card during takes, or giving them your card… only to never see it again 🙁
Took a screenshot just in case it might disappear:
From this info we can fairly easily deduce this is likely:
Uses AA / Sony L-type batteries.
Writes to SD cards.
And works with the Wingman app.
From the name I will guess it does 10 tracks, and has a time code generator built in (unlike the MixPre6 or MixPre3, which need time code to be permanently sent to it, as can’t keep TC accurately otherwise. Which is great news the next MixPre will have TC built in, as I was disappointed to realise the MixPre6 will lose tracks 5/6 if you need TC while it is in your bag).
Annoyingly when you click on the “MixPre-10T Tech Notes” link you get asked for a username and password:
Wonder how many XLR inputs it would have? I am very extremely doubtful it would have all 10 inputs be XLR inputs (like the Zoom F8 does with all its 8 inputs), likely only a few will be powered XLR inputs just like with the MixPre6, 663, and a number of their other products. Probably at least four will be XLR inputs, as that is what the MixPre6 has (but then again the 633 only has 3x full sized XLR inputs), and the rest will be something else like 1/4″, 3.5mm, or TA3F (I’m highly skeptical if we’ll see a digital input such as AES3/AES42 in a low end recorder series such as the MixPre).
Hmmmm…. I wonder what the price will be? I might have found my upgrade path forward from my Zoom F4! Depending on the exact mix of features/price that the MixPre10T has.
Presumable the price will between the Sound Devices 633 at US$3.3K and the MixPre6 at US$900, but that is a massively price gulf! And likely the reason why Sound Devices is bringing out such a product, to fill this niche?!
You will wonder what will the MixPre-10T would be missing so that it doesn’t compete too strongly with the 633/688, I imagine output options and Dugan automix would be a couple of many ways they could differentiate their products.
When will this Sound Devices MixPre-10T came out? If some details are already being put onto their website (and Google cache tells me it has been up since at least the 5th of September 2017) then you would assume the MixPre-10T is already reasonably far along with its development. However actual release might not be days away, but still months away. So I’d predict/hope the MixPre-10T will be announced by at least next years NAB 2018 in early April.
A little quirk in the URL that I’m wondering about is this, compare:
Hmmmm……. same pattern with the “tn” in the front like with the MixPre-10T?Does this mean the MixPre-10T is going back to its roots and is not a recorder but instead just a mixer / USB interface like the MixPre-D is?
I don’t think so, am probably just going a teeny bit crazy overanalyzing these tiny details and in reality this difference means nothing at all! Ha.
Because the name “MixPre-10T” with a “T” at the end very strongly indicates it is a recorder with time code in it, and not just a mixer, as we’ve seen from the past naming of the Sound Devices 788T / 744T / 702T. But Sound Devices has never ever released a mixer with a “T” at the end of the name.
But if you feel there is some deeper meaning as to what these “tn” letters mean, then hit me up in the comments and let us know!
Anyway, I’m looking forward to hearing more about the MixPre-10T when it does finally get announced. I’ll update my current overview of all the lower end recorders when it happens:
News got leaked accidentally by B&H that a new Zoom F4 is coming.
I thought the Zoom F8 when it was announced was a groundbreaking new recorder in what it brought to a new low price point for soundies.
Now the F4 is even cheaper (US$650 vs US$1K), and has nearly everything the F8 has! Except for most notably the lack of extra XLR inputs (8 vs 4, thus the names: F8 vs F4. The “F” = field recorder, “H” = handheld recorder such as H1/H4n/H5/H6) and the lack of an app for the F4 to mix on a tablet like you can with the F8. Oh, and in a more minor point the F4 has a monochrome screen vs the 4 color screen of the F8.
But everything else (such as pre amps, and time code) is basically exactly the same as the F8! Some things are even an improvement, such as adding camera return to the F4 that was missing from the F8, adding extra short cut keys to the top of the F4, and using XLR outputs instead of the TA3 outputs the F8 has.
Having the missing XLR inputs from the F8 is not such a big deal for many prospective F4 buyers, as 4 XLR inputs is plenty for many small/medium jobs. And when you need a bit extra, adding in two more XLR inputs for a total of 6 XLR inputs is cheap to do with the Zoom EXH-6:
The F4 is positioned quite interestingly, as it has nearly everything from the F8 (except for the extra XLR inputs and the tablet app), yet the F8 is a small enough bump up in price it will tempt a fair few people to spend a little more for those couple of extra features… however for many other people the F4 will suit them perfectly, as they won’t need more than the usual 4 (or occasional 6) XLR inputs and they won’t be using a tablet for mixing (but I would like to use a tablet for entering metadata! Hmmm…).
Andrew Jones (who was one of the testers of the F4 for Zoom) said it is almost the same size as the F8, but (strangely!) is a tiny bit heavier. I guess cutting out a few XLR inputs does not save much weight, but where does the extra weight come from? Maybe it is more robustly built?
Crazy idea time: what next for Zoom after the Zoom F4? Is a “Zoom F2” next? The idea might sound hilarious! But being serious now, if it is bag friendly (a very small bag!!), ultra lightweight, and very cheap (perhaps US$400ish? Keeping the 50% price jump ratio from F2 to F4 to F8), then a Zoom F2 certainly would be popular!
For many jobs 2x XLR plus an extra stereo input (for up to 4x ISO tracks) would be plenty! (Plus a L & R XLR output, plus Timecode, etc… just like the F4)
Heck, for the last couple of days I’ve been doing a job with my Sound Devices 552 which only needed the one XLR for the boom to be recorded, plus one XLR output to be sent to the Sony F3 as a reference scratch track.
A “Zoom F2” would even be overkill for that! Could you pretty please make this “F2” dream come true Zoom?
Blurb and specs list from B&H (page is currently down, you need to use Google cache to view it):
Designed to provide big Hollywood sound on an affordable indie budget, Zoom F4 is a 6-input / 8-track professional field recorder featuring super-low-noise preamps and timecode with pinpoint accuracy. The unit provides recording and playback resolutions up to 24-bit/192 kHz with impressive audio specs including an extremely low noise floor (-127 dBu EIN) and high gain (up to +75 dB), with +4 dB line-level inputs. The on-board temperature-compensated crystal oscillator (TCXO) generates timecode at 0.2 ppm accuracy and supports all standard drop-frame and non-drop formats, as well as jam sync for external devices.
The advanced on-board limiters provide overload protection for all inputs and outputs, which lets you capture audio in a wide range of environments. Limiting can be applied simultaneously at full resolution with 10 dB of headroom and features controls for setting threshold, attack, and release.
The F4 offers four combo XLR-1/4″ inputs, a 1/8″ stereo input, and includes a Zoom mic-capsule input for recording six discrete tracks with an additional stereo mix, all at full 24-bit/192 kHz resolution. Additionally, inputs 5/6 can function as a camera return for audio monitoring only for confidence checks. The dual-SD card slot features simultaneous recording to both cards allowing you to make a backup or split recording with all eight tracks on one card and a stereo mix on the other.
Each of the four XLR-1/4″ inputs offers a dedicated preamp with gain control, phantom power, a six-segment LED level meter, plus a Record Ready and PFL switch. In addition to the 1/4″ headphone output with a dedicated volume control, the F4 provides two main balanced XLR outputs, as well as two sub outs on a single unbalanced 1/8″ stereo mini-jack, enabling easy connection to a camera. All timecode I/O is provided on BNC connectors and the unit includes a variable-frequency slate-tone generator to confirm levels.
An easy-to-read 1.9″ LCD display is suitable for use in all lighting environments including dark low-light sets to bright sunlight. The on-board mixer not only provides user-adjustable level, pan, and input/output delay, but also offers high-pass filtering for noise and wind reduction, phase inversion, and Mid-Side decoding. The F4 ships with a camera-mount adapter, AC power adapter, and download codes for Cubase LE and Wavelab LE.
Six-input / eight-track multitrack field recorder with integrated mixer
Six discrete inputs, including four with locking Neutrik XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input
Compact and lightweight metal chassis, weighing just two pounds (without batteries)
High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs
Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution
Accurate timecode (0.2 ppm) I/O on standard BNC connectors; dropframe/non-drop formats with Jam Sync
Two different power supply options: 8x AA batteries or external DC battery pack with 4-pin Hirose connector
Dedicated gain control knob, 6-segment LED level meter, and PFL/Solo switch for each channel
Phantom power (+48V/+24V) on every preamp
Advanced on-board limiters for input and output
High-pass filter, phase invert, and Mid-Side decoder
Input delay of up to 30ms per channel / output delay of up to 10 frames per output
Compatible with all Zoom mic capsules; optional ECM extender cable enables remote positioning
Dual XLR balanced Main Outs plus 1/8″ stereo mini-jack Sub Out
Dedicated headphone output (100mW) with front-panel volume control
1.9” white, backlit monochrome LCD
Dedicated PFL display with viewable trim settings
Dual SD/SDHC/SDXC card slots, up to 512GB each
Records in BWF-compliant WAV or MP3 file formats
Support for extensive metadata (BWF and iXML); input time, date, project, scene number, etc.
Built-in tripod mount; camera-mount adapter also included
Use as a 6-in/4-out USB audio interface (@ 96 kHz)