Why YOU Should (& Shouldn't) Record Your Audio Externally (& How)

=:31 - Pros & Cons
5:25 - 3 Audio Recording Setups
8:45 - Syncing Audio in Post
So as solo content creators, you might be considering upgrading your audio and start to record your voice separately from your camera. Maybe you want to have some distance between you and your camera or maybe you want to use equipment that's not compatible with your current camera. Regardless, let's talk about 3 reasons why you Should & Shouldn't record externally, 3 set ups that I use to do so & what to do in post with your crispy audio track!
Got your own tip about recording audio externally? Or have a question about the process? Leave a Comment down below!
Was this video helpful? Say thanks with a coffee! www.buymeacoffee.com/WayneRECs
Check out ALL of my Vlogging Gear, Audio Recording Equipment & Full Mic Locker HERE: (affiliate link)
amzn.to/3IBD5aQ
Sony ZV-E10 - amzn.to/3k088Rp
Studio Equipment: (affiliate links ahead)
Sony ZV-E10 - amzn.to/3k088Rp
Lewitt LCT-440 Pure Condenser Microphone - amzn.to/2UWcAFf
Rode PSA1 Microphone Boom Arm - amzn.to/2UQmpnZ
Yamaha AG03 USB Interface - amzn.to/2D7dwMQ

[@Passion_Video_and_Photo]

team record externally 💪💪

[@bernardcolasurdo4999]

Thank you Wayne, this was a very helpful video. I'm now a subscriber

[@jubb1984]

I have been watching abunch of your videos lately, since im trying to get into video and sound recording, really on point helpful tips. Thanks!

[@cocoscabana]

Another great one Wayne...Most Under rated film pro..Glad others are catching on! (Those pups always chasing something, when they catch that scent) nice job COOPER....

[@WayneRECs]

Thanks Coco! I appreciate the kind words! And Cooper is my best boy! While he's pretty active, he almost never barks. It's like he knows I do audio recordings all day lol!

[@JuanTheBone]

You record both cause one will eventually fail on you and you need a backup.

[@guidon.5413]

Really good video and super helpful tips!

[@WayneRECs]

Thanks for your comment! Glad my video was useful!

[@greatday2224]

Thank you. It helped alot. Keep well

[@christian79s4]

Great explanation - thx

[@walkwithyan]

great video. learned a lot. thanks. 😊

[@mrweshamilton]

Informative video. Thank you for the content. On a different subject your delivery, inflection and mannerism remind me a lot of Andrew Chang (Canadian television journalist on the CBC). Are you related?

[@CreativeStudiosFM]

Super helpful

[@uncle-english]

informative, useful and detailed as usual

[@WayneRECs]

Thanks so much! Glad you found it helpful!

[@joelwesterveltaia2196]

Nice presentation, thanks!

[@WayneRECs]

Thanks Joel! I appreciate you saying so!

[@grassrunner7983]

wow! Thanks for the helpful lesson

[@WayneRECs]

Thanks for your Comment! Glad it was helpful!

[@ChrisBoland]

This is great, thanks 👍

[@WayneRECs]

Thanks for your comment Chris! Hope my video was helpful!

[@profsergiogregorio]

Excellent !!!

[@sintoniacardiaca]

Excellent video thanks for sharing those wonderful tips and tricks, really nice setups. Incredible crystal clear audio in all of them congrats!! I do have a question. I am definitely an amateur and almost always avoid to sync in post because of time management. Which would be the preferred format, Sample rate (48 kHz) and bit rate (24), to record and sync in post?

[@WayneRECs]

Hi, thanks so much for your comment! With regards to file format, yes, 24-bit 48 kHz is the best setting for recording audio for video production purposes. While you can still get great audio only recordings at 16-bit 44.1 kHz, most modern cameras record audio internally at 24-bit 48 kHz and if your audio recording doesn't match your camera's setting, you have the potential to run into syncing issues over time with longer length video files.

[@wrealestate8778]

THANK YOUUUUUUUU. Please more audio sync tutorials for beginners 😊

[@WayneRECs]

Glad it was helpful and thanks for the suggestion!

[@Akeynote]

Whoa I was sure your were a monetized channel already. Great information! What’s your recommendation on a in-camera mic with low noise floor on Sony. I have sennheiser mke400 on a A74 but there is so much self noise.

[@WayneRECs]

Thanks for your kind words about my channel! With regards to an on camera mic, I think when we're trying to mitigate the noise floor in a camera, selecting a mic with variable gain control can really help (as opposed to a mic with say 3 set gain settings). I personally have used the RODE Videomic NTG and think it's in the same class as the MKE400. While I haven't used it myself, I've heard the Deity V Mic D3 Pro is another good alternative with similar features and gain control. IMO, the gain knob is crucial in enabling you to set your camera's audio record level low and then being able to dial in the gain at the mic. Hope this helps!

[@Akeynote]

@@WayneRECs thanks for the insights!

[@SteveVickAK]

Great pro/con info. I do both in camera and external depending on my project. Sit down interviews are almost always externally recorded because I can repurpose the audio for voice over. In the field I tend to want to be lighter and more mobile. But the cool thing is the prosumer Rode wireless go has a decent internal recorder which tends to be better sound than what the camera captures. So if the camera just messes up the audio, the Rode recording is typically better since it is captured prior to being sent to the camera. Also - you should have more Subs... good info and well edited. So I subbed :)

[@WayneRECs]

Hey Steve, thanks for sharing! With the latest firmware update by RODE, the internal recordings of the Wireless GO II are so much easier to access and use! And thanks so much for the kind words and sub! Really appreciate it!

[@jer3006]

Such a great video! Thank you for choosing the segments as you did. Also in a reply to a comment you said, "I've been working on a 32-bit float video featuring the Zoom F3 and TBH, it's changed my workflow so much (for the better) that it's like a whole new world of recording!" Please complete this and include a lot of Davinci Resolve Workflow stuff in it! I need that badly as a new hobby-videographer needing to learn DR and filmmaking, talking head, etc. My Zoom F3 will be here in 4 days BTW. I first saw you in "5 Things..." re the Rode VideoMic GO II in which you are very impressive and for which I bought b/c of your video. I started to subscribe but did not see much Resolve on your YT home page so I passed. Hmm, big mistake. I'm subscribing now. BTW, which Resolve page are you on when you do the Auto-Sync-Audio menu trick? Edit? Fairlight? Or does it matter? The DR page tabs are at the bottom of the program interface and are never visible in YT videos. Thanks again.

[@WayneRECs]

Thanks Jer! Glad you're here! Actually my Zoom F3 video is coming up next so hopefully it will help you out just as you're receiving yours! TBH, it's probably my favorite piece of audio gear since buying my first LCT-440 Pure like 5 years ago!

[@Tewahedo]

Great setup! Can I get the link for the tripod, the mic holding thing and the xlr cable? Thanks!

[@WayneRECs]

Thanks for asking! You can check out all my favorite accessories (as well as all of my other gear) all in one place here: amzn.to/3IBD5aQ

[@Beatwalker]

External audio is definitely a priority when able. Gread vid!

[@WayneRECs]

Thanks so much for your Comment! I agree, in situations where you have the time and means to set up an external recording, it can be hugely beneficial in the end!

[@LexRaeMac]

Thank you for this stellar insight! Do you have an audio recorder recommendation that works well Rode Go Wireless II mics? Thank you.

[@WayneRECs]

Hi Alexa! Thanks for your comment! To answer your question, the Rode Wireless GO II mics (transmitters) have a built in internal recording function. Using Rode's software, you can enable it and pull audio files off if your transmitters via usb-c. Using this feature while simultaneously sending the audio to the receiver and into your camera gives you the best of both worlds!

[@syafiqzailan]

I Use the line out on f3 goes back to my camera for easy syncing. But u need to change the the line out to mic level option

[@WayneRECs]

Hey Syafiq! You're totally right! While you don't have to set any levels when recording to the Zoom F3, if you output that signal to another device (camera), you will most likely need to set the F3 Output Level.

[@drawingwithpri]

So many great tips! Thanks. I prefer to record my audio externally as my camera does not do a good job of recording the audio.

[@WayneRECs]

Hi Pri! Thanks for sharing! I've been doing a lot more testing with external recorders vs camera inputs and wholeheartedly agree with you that external recording is the way to go if you have the ability to do so!

[@PoppyDog]

Thanks!

[@WayneRECs]

Hope it helped! And thanks so much for the Super Thanks!

[@jannarkiewicz633]

I am team external and team that werewolf from "Twilight." I do not understand the whole -- golly post production is so much more complex. It takes a couple of extra seconds and for noisy/urban environments external is the only option.

[@quiztasiarocks]

I would always record externally. First time I’ve seen a Lewitt in a video outside of mine, fair play!

[@GroupIII]

Yes your video has helped a lot. I’ve been toying with 32bit float external recorders (zoom f2 and instamic). The zoom is definitely my choice as it has proven a great solution for travel BUT syncing audio/video is painful. To complicate matters, I’ve been using 2 action cameras with my main camera. Grrr… anyway I just need to keep filming as I know repetition is really the best solution. Thank you 🙏

[@ezrarichardson279]

What editing software are you using? In theory there should be some sort of auto-align feature and then you just tweak it frame by frame until it’s right.

[@WayneRECs]

Nestor! I'm working on a 32-bit float video that I think you'll like! And you bring up a good point! Using multiple cameras simultaneously (in addition to an external recorder) can really complicate things! File organization is huge! And like Ezra mentioned, your editing software might have some automation tools to help sync all your files. I know Davinci Resolve has a feature where it kinda "merges" your video clips together and you can simply select which clip you want to see. Kinda like a video switcher in a live broadcast.

[@onlymyopiniontech]

It depends on what I’m doing. I have an RC car channel and I might have 20-30 clips so remembering to turn an external mic on (which I did for a while) was a pain. I was using a Tascam DR-07x and an AGD lav. I was happy with the results but had to sync everything manually in Lumafusion, when I remembered to turn on the recorder. I finally bought a Comica BoomX-U2. My wife normally captured everything on my iPhone but we were frequently separated by some distance. The second transmitter really helped so people could here her comments or questions. I was frequently in as much as 30mph wind where we live so mic placement to prevent wind noise was critical. As far as normal talking videos or product reviews I just capture my audio in OBS and don’t do any post processing. On this channel I’m trying to help get people started making videos on KZbin so I feel like I should actually be using the entry level stuff I suggest people start with. I remember feeling the frustration of watching people using $8k worth of equipment telling me I didn’t NEED that to start but it seemed more like an obstacle than help. Obviously for commercial work things would need to be stepped up but honestly for making KZbin videos I believe less is more. Ok video and decent audio is all that matters to me if I’m trying to learn about a product or a new woodworking technique. Thanks for your videos and have a fabulous day.

[@WayneRECs]

Thanks for sharing! You make some really great points! If your workflow entails a lot of individual video clips, it can be really difficult to manage all those files AND corresponding audio recordings! And it also can really depend on the type of content you create and your typical recording environment. Sounds like the Comica set up really suits your needs! I totally hear you on feeling like you need expensive gear to get started! I think what can be easily overlooked is that being a creator really is a process of learning and growing and developing skills. And with that, often comes and better understanding of gear and subsequent upgrading. But you totally can get started with what you have. Might have to make a video about that...

[@ViciousXUSMC]

I used to record with a clapper board, until it broke now I just clap my hands. It was actually a lot easier to sync with the board believe it or not. Its a much sharper and easier to see wave form. Then I would clap for takes inside a single recording session. I usually try to go old school 1 take for an entire video, narrative style rather than a lot of edits and jump cuts. So if I see the double clap that means I messed up that take, so when I go edit I can cut the video from there after I sync. Making this comment just gave me an awesome idea though. I need to buy a new clap board and affix my color chart to it. So this way I mark my audio but also ensure I always have my color chart in each video for color correction.

[@WayneRECs]

Ha, in longer voiceover recording sessions, I use a dog clicker to expedite editing a waveform visually too!

[@ViciousXUSMC]

@@WayneRECs Booth Junkie? :)

[@ChrisParayno]

Depends what camera you are using, mic you are using, how good the preamps are, and finally kind of audio you are trying to capture.

[@BrianT383]

What ball head and shock mount are you using in the mobile setup? 7:30. Thanks!

[@WayneRECs]

Hey Brian! In this video, the ball head is a Ulanzi U-80L, but I also often use a Ulanzi Dual Cold Shoe Ball Head (U-60). The shockmount is an Auray DUSM-1. Hope this helps!

[@jacobsnightmare1807]

Hey Wayne. I just asked you a question on another video. I see in this video you are using your mic into an F3 and then the F3 into you Sony ZVE10, which is exactly what I would like to do, only difference is that my mic at the time is my Sennheiser. How do I connect the F3 to the camera? I don't have the F3 yet, as I am trying to figure out if it's the best option. But I do have the mic and zve10. Wondering if the F6 is the better option, or maybe get the F3 and an F2 so I can have both of those functions instead. I am still watching this video, so maybe you answer this. Thanks man!! Appreciate the knowledge and subscribed.

[@WayneRECs]

Hey Jacob! Thanks so much for your comments! To answer your questions, the Zoom F3 as a 3.5mm output that you can send to your camera. In doing so, as long as you're recording on both devices at a sample rate of 48 kHz, you shouldn't have any drift or sync issues in post. Your camera should by default record at 48 kHz but the F3 as the option of (44.1 or 48 kHz sample rates among others). That being said, you may have to adjust some of the output settings on both your camera and the F3 for the optimal in camera recording (i.e. setting the ZV-E10's audio rec level as well as the output level of the F3) but if you are also recording simultaneously on the F3, you wouldn't have to worry about any F3 internal settings (as there really aren't any). The Zoom F3 does have a port for an optional BT adapter that does support some Timecode devices, but not every Timecode device. I personally just line up my audio files in post (or have my editing software do it using the waveforms) and I haven't had any timing issues. BUT, my recordings are typically 15 minutes or less. Hope this helps!

[@jacobsnightmare1807]

@@WayneRECs Oh wow! Thank you so much for the detailed answer, Wayne. It is much appreciated. And you just cemented my decision to get the F3! Can’t wait! Cheers!

[@ZEROFilms_]

Nice Video, thanks! Im actually looking for a solution for my red komodo. I was thinking to get an XLR mic and the Zoom F3 for my komodo. Does it make sense to use the mic and Zoom F3 for high quality sound record and at the same time line out from the zoom F3 to the komodo for low quality audio, so I have an easy sync solution. Does it make sense? 😅

[@WayneRECs]

Hi, thanks for your comment! It definitely make sense to run the line out of the F3 into your camera in addition to recording internally on the F3 itself. In addition to using it as a scratch track to sync audio in post, it can also be a back-up recording if for whatever reason you need it (though the F3 has been super reliable in my own usage). But be mindful, that if you are a one person production, keeping your mic mounted on your camera may not always produce the best audio at any great distance, even with the F3. The F3 will be able to recover loud audio, but does not replace the need for optimal mic placement (i.e. if you had a boom operator).

[@ZEROFilms_]

@@WayneRECs Thank you that helped a lot. I do a lot of fitness related videos, in this particular situation it would make sense to put the mic on the camera. But you are absolutely right in most cases I need a different solution. So I guess for an one man crew it should be a lavalier mic or?

[@ezrarichardson279]

It depends on the situation. When speed and simplicity is the priority then I record internally (with the camera’s pre-amp as low as possible and the mic gain higher, sounds pretty good). But if I need more flexibility of the mic placement and the ease of having them be separate entities then I go external. It’s just a different work flow, I don’t really prefer one over the other! When I get XLR mics then my opinion will most likely change. Great vid btw!

[@WayneRECs]

Thanks for sharing Ezra! Great points with regards to mic placement and flexibility! I think that incorporating both methods of recording into your work flow can definitely help when you're in diverse situations. Your totally right about identifying your priorities and then implementing accordingly!

[@ezrarichardson279]

@@WayneRECs Thanks!

[@WeiHoung]

This is why I like using my Rode Wireless GO II for video recording in the field because I can record in camera AND externally…. But then at home I use the full audio setup with either my Ethos or Slate with the Motu…then either sync in post or use ecamm. That F3 setup with Synco is great idea! I might use you as an excuse to get an F3 with that sick 32-bit float! 😅

[@WayneRECs]

Hey Wei! I've actually been primarily using a Deity S-Mic 2S plugged directly into the Zoom F3 and it's been a great compact recording set up! It's funny, us vo folk can tumble down the rabbit hole when it comes to gear... lol!

[@WeiHoung]

@@WayneRECs oh yeah... that tech rabbit hole of mics... interfaces... digital recorders... pre amps... cameras... lol...

[@RandumbTech]

I am team external!! 🤣 Great vid and awesome tips!

[@WayneRECs]

Ha! I thought you might be! Based on your Tascam Portacapture X8 vids I figured as much! Maybe the real question is Team Zoom or Team Tascam lol! Thanks for your comment!

[@dentaltv]

Would love having you on one of my next LIVE interviews 🙌

[@WayneRECs]

Sounds like fun! Shoot me an email and we'll figure something out!

[@dentaltv]

Wow 🤩 I need to work on my audio

[@WayneRECs]

Alessandro! No worries my friend! Your audio sounds great!

[@dentaltv]

@@WayneRECs it can always be improved !!!

[@NOC-H]

Howdy. New to channel (yes, I just subbed). I seek wisdom. I live in a third world country, meaning everything is more expensive and once you buy, you are committed (not like in US where you can return things). That being said, I need to find a mic that can meet my immediate needs, until I can afford to grow my collection. At the moment, I’m doing voice actor work in my home studio (macgyvered). But I also need something that can work for recording school events, like student concerts and plays. Any thoughts? I was currently looking at the nt1 or ntg, both from rode.

[@WayneRECs]

Hi Kenshin! Thanks so much for your comment! I think this is a tough question to answer. With a variety of different recording scenarios, it's hard to firmly recommend a single mic. There are also a lot of factors that may or may not contribute to mic selection. For example, without knowing what your VO recording space is like it's tough to make a recommendation. If you live in a quiet location overall and your room is quiet in general, a RODE NT1 could work. But if you need some kind of off axis rejection to compensate for room acoustics, a RODE NTG (although you didn't mention which NTG model) could be a better selection. For the dual purpose of recording live events, that's a whole different question. Are these school plays and concerts amplified (i.e. are there stage mics used for the live event?). Where (and how far away) is your camera position? How close is your camera position to the audience? How big is the stage? How many musicians are typically playing onstage? In an ideal world, if there are onstage mics being mixed for the audience, taking a feed off of the mixer would be your best bet and then supplementing that with a shotgun mic. Or you'd be able to hang mics over the stage to get the most even sound capture. Most likely, you'd ideally need multiple microphones to record all the actors and/or musicians onstage. If only one mic is feasible for use, you'd best be served with a mic with an omnidirectional polar pattern to cover as wide as an area as possible. This mic would ideally be located closer to the stage in a central location. If you are getting paid VO work, I'd suggest focusing your gear purchases around that, which will enable you to generate funds to eventually upgrade your mic locker. Or if you are getting paid to record live events, prioritize that.

[@NOC-H]

@@WayneRECs Thanks for the reply. I ended up going with the NTG4+ after someone decided to gift me a DR40D. I found out the program at school has decided to give all the kids lav sets. So I can use the 4+ on my cam and connect the dr to the school system.

[@rickymcc8624]

Hi I wondered if it's possible to use a timecode box like a Deity TC-1 or a Tentacle sync with your Zoom F3 receiving an audio timecode recorded on track 2 with a similar timecode box recording audio timecode on the left channel of your camera's scratch recording? I know the Deity TC-1 will output audio timecode to a camera this way even if it isn't effectively built for timecode (ie no TC dedicated input - like most prosumer mirrorless cameras). The audio version of TC can be translated into metadata timecode within DaVinci Resolve quite easily. I just wondered if anyone knows if a similar process is possible with a Zoom F3?

[@stevenkralovec]

Theoretically, receiving audio timecode to the second channel is is possible (why not?)! I haven’t tested this specific setup yet, but Tentacle Sync Studio which comes with the tentacle syncs would make it super easy to sync it up and remove the audio timecode tracks. Edit: like you mentioned it would also be super simple with Davinci Resolve like you mentioned.

[@mylesgreen]

I'm new to external audio recording so here's what may be newbie question: On a unit like the Zoom F3, if I connect an external mic to the F3 and then connect the F3 to my DSLR, will the audio quality be lower like you showed at 2:15?

[@WayneRECs]

Hey Myles! Thanks for your comment! While the audio quality difference is subjective to some point, yes, there will be a difference in sound from internal recordings on the F3 compared to a DSLR's recording from receiving an output from the F3. A lot of that depends on the quality of the audio components in your DSLR, so one camera make/model might not sound audibly different while another could sound completely different. It would really be up to you to determine if the in camera audio recording meets your standards. That being said, in my example, if there wasn't a direct back to back comparison, the in camera recording probably would have been fine for KZbin. The biggest disadvantage is that the F3 records 32-bit float internally while your camera typically recording in 24-bit. This means you lose the ability to manipulate the audio file in post the same way you would with a separate F3 internal recording.

[@mylesgreen]

@@WayneRECs Amazing, thank you, brother. I didn't think about the internal recording file on my DSLR vs the 32 bit file on the F3. Excellent info - thank you!

[@smallbizdigitalmedia]

Really good video 👏 I find the Sony FX6 preamps good enough for my rode ntg3 shotgun studio set up. Please can you list the kit used in the dining room set up as I may copy it for a legal podcast I’m producing

[@smallbizdigitalmedia]

Just to add I know what the mike, recorder and tripod is. It was the shock mount and the ball mount that connects it and the length of XLR cable. Many thanks 🙏

[@WayneRECs]

Thanks for your comments! You combo of the Sony FX6 & NTG3 sound like a good set up! With regards to my portable rig, I have the Synco Mic D2 in an Auray Universal Shotgun shockmount. The enclosure is plastic but the suspension is a thick silicone. I prefer this over other elastic style ones as it firmly holds the mic in place. The ball mount is a Ulanzi U-60. This as a rotatable cold shoe mount on the side. The ball head as an interchangeable 1/4"20 screw OR you can flip the top piece and it becomes another cold shoe. I then have a custom 12" Canare xlr cable.

[@smallbizdigitalmedia]

@@WayneRECs really useful I will replicate this kit and I also have portable acoustic screens that will further reduce reverb 🙏

[@WayneRECs]

@@smallbizdigitalmedia awesome! BTW, you might also need a 1/4"20 to cold shoe adapter to screw into the back of your recorder to be able to mount it into a cold shoe

[@smallbizdigitalmedia]

@@WayneRECs thanks. final question did you choose the 12" Canare xlr cable over the cable supplied because it provides better sound quality?

[@professorgrumpybuildsasoci4157]

I've a lot to learn. For now, as I'm just building everything, including equipment, I'm internal. I can see the potential for external down the road with a little investment. I'm more concerned about the post production incremental time.

[@WayneRECs]

That's a great point! Especially for new content creators, the added step of external audio can slow down learning how to edit videos. The best part though, is when you're new, you get better with every video and learning and implementing even just one new concept or technique every upload can cumulatively amount to huge progress!

[@forfilmssakeUK]

Hey Wayne, do you have a suggestion as to recording externally via a setup that one can get to be the lightest possible, like recommendation of a field recorder if not Zoom's F3 and a mic (if I can assume shotgun mic be the best for live recording outside)? Reason for asking: I film mostly handheld and caging my camera setup is virtually impossible for me. Thanks and take care! :)

[@WayneRECs]

Hey, thanks for your comment and question! If you're prioritizing a lightweight shotgun rig, I'd look at the Zoom F1-SP Field Recorder and Shotgun Mic combo. While I personally haven't used this specific set up, it's a nice budget option that is super lightweight and compact. Additionally the F1 would give you the option to wire in a lav if needed instead. If you have a larger budget, I've personally been using 2 different Zoom F3 setups for outdoor recording. The first is the one in this video, the F3 and the Synco Mic D2, except for a streamlined form factor, I have the Auray silicone shockmount attached directly to the Manfrotto PIXI. The Synco Mic D2 is in the mount with Zoom F3 attached directly to the mic at the rear. This effectively removes the XLR cable and Ball Head/Cold Shoe from the setup in this video. Second, I've been using the Deity S-Mic 2S plugged directly into the Zoom F3 as well. But with this rig, I have the Zoom F3 mounted on a Rycote Shockmount via the 1/4" 20 thread which is then screwed on to the PIXI tripod. The real benefit of using the F3 is that you wouldn't have to worry about setting any gain levels and pretty much just turn it on and hit record once you've initial set up the unit. Also, additional dead cat style windscreens may also be needed for outdoor recording. The thing to remember is that in all of these cases, the closer you get your recording rig to the sound source you're trying to record the better.

[@forfilmssakeUK]

@@WayneRECs Hey Wayne. that's really detailed answer there ,so thank you so much for that. Is it true, that if I were to plug in anything, even say a field recorder's output to a 3.5mm mic socket on my camera, then the original audio quality, even if it's 32 bit float audio quality recorded with the F3, will be lost in 1 way or another? Thanks, take care and God bless. Speak soon. p.s please do bear with me as I just gotten my first camera like a month ago, so am still pretty much in the dark about a lot of things.

[@WayneRECs]

Yes, you're right. If you send the output from something like a 32-bit float F3 recorder, the device that receives that output will record audio in whatever format said device is set to. So in most cases, a camera will have it's audio input set to 24-bit 48kHz. This effectively means that in post, the F3 would have recorded a 32-bit file (which you could utilize the benefits of adjusting the gain in post) but the audio attached to your video file in camera would be 24-bit. As a result, the correct level does have to be set for the OUTPUT of the F3 (going into a camera) but does not have to be set within the F3 recorder itself (in fact there is no real option to do so).

[@forfilmssakeUK]

@@WayneRECs Hey Wayne, thank you so much! I'm all clear now. Just 1 last question, I promise. So sorry to disturb you like this, i.e. I tried to find a solution to mount F3 with a shotgun condenser mic on-camera but I couldn't, off Zoom's website or via Google search. Do you know of any? I film handheld and want something that's the lightest possible setup, so I'm not looking into cages for this reason. Thanks again and take care until we speak. Regards.

[@WayneRECs]

I use two different solutions for mounting my F3 on top of my camera via it's hot shoe mount. If you need a shock absorber (or if you need a little extra height so as your mic isn't in your frame), I use a Rycote 041119 Portable Recorder Suspension. It's a little bulky, but helps if you have a large windscreen on your shotgun. Otherwise, a simpler solution is to buy a 1/4" 20 hot shoe adapter that can screw into the bottom of the F3 and then you can slide it onto your camera's hot shoe. Hope this helps!

[@taylorwilliams8280]

Newbie here. I bought a Zoom F3 not knowing what I was getting into. I sample tested with a cavalier mic and placed the file in Premiere pro. The sound is coming out of one speaker only. I switched the settings from stereo to mono and vice versa and still only have sound in one speaker. Is it possible to get sound from both speakers using one microphone with the F3? Thanks for the video. I like the table top set up.

[@WayneRECs]

The F3's Mono & Stereo recording modes cannot be configured to what you're looking for. If you've connected a single lav into CH1, in Mono mode, you will record a single mono track. If you turn on CH2 as well, you will record 2 separate mono tracks. In Stereo mode, whatever is plugged into CH1 will be recorded to the L track of a stereo file and CH2 will be the R track. Most likely what you'll need to do is to convert your Mono recording to Stereo in Premiere like in this video: kzbin.info/www/bejne/aZKziZl7pLiUhposi=c0AAHF3u4O7pKd4P&t=26

[@taylorwilliams8280]

@@WayneRECs Thank you for the video link. So simple. But it's impossible to know what you don't know. I didn't know but I do now. Thanks again, brother. Greatly appreciate you taking the time to respond and sharing your knowledge.

[@rorovibes]

Hello how to active a 32 bit on Fairlight? i used F3 ZOom coneecting to my A7S3 with shototgun mic XLR. when i check my audio informations my audion files is 24 bit and 16 bit option only

[@stevenleflar5152]

that is because internally the a7siii will only record 24 bit audio even when connected to something that records 32 bit float. You need to grab the audio from the zoom f3 on the sd card and then match it to the internal audio on the a7siii, and then only use the audio directly from the zoom f3. I hope that makes sense.

[@JawHacks]

Would love to get your opinion on the Sony XLR-K3M (aka the Sony FX3 audio handle). Would this accessory eliminate much of your need for external recording? Or does the 32 bit float have you hooked on the Zoom F3? I am currently using the XLR-K3M and still finding myself craving that difficult-to-clip audio of 32 bit float. Do you think I should just put more effort into finding the right gain settings?

[@WayneRECs]

Thanks so much for your comments! I have my own personal opinions on the K3M based on a consumer standpoint, but as I haven't used it (Sony isn't sending me gear lol) I can't really form a definitive user opinion. However, I did check out your latest videos and if it's what you're currently using in your talking head content, they it sound's really great! What settings are you using for your MK012? 32-bit float really has the most benefits in situations where there is the potential for extremely loud sounds where you (the operator) does not have the ability to adjust the gain on the fly. As it appears to me from a viewer perspective, the gains of switching to the F3 from the K3M may be minimal, unless you intend on using the F3 for other purposes. It may come down to convenience factors. If you have a Sony camera and are using the MI interface, that can be a pretty streamlined workflow. Adding in an external recorder (that may require additional post processing) may complicate the process.

[@JawHacks]

@@WayneRECs Thanks so much for the write up. I am going from the Oktava MK-012 directly into Input 1 (the first XLR connector) of the Sony K3M. On the K3M, I have input 1 set to Manual, attenuation set to -10, phantom power on, and gain set to ~5. I just recently discovered that the L and R of input 1 were not balanced as I did not have the gain settings "linked." There is a link setting right on the K3M that I did not know existed. As a result, my L and R have different gain levels in some of my vids. Going forward, for less studio oriented work such as my outdoor fitness videos I may try using the "auto" setting on Input 1 which supposedly auto adjusts gain to prevent clipping. Thanks so much for your feedback. I'll stick with the K3M for now.

[@bayerphotos]

i just received it today, is amazing but i noticed a problem :( we all know that when we zoom i the wave form it affect the line out and the recording, BUT if you set the Zoom and start recording then any changes on the zoom will affect the Line out only, not the recording, in my case i need this feature as i record everything coming out of the DJ, so i would set different zoom level when people dance than the level at speeches time and i don't want to keep stop and starting the recording!! anyone knows any thing about that??

[@WayneRECs]

Hey Bayer! Sounds frustrating for sure! It sounds like right now your only options are to start and stop to adjust the magnification for the different segments or if you record one long file, to adjust the different segments levels manually. Alternatively, if you could get 2 outputs from the DJ and you are not using your 2nd channel on the F3 for anything else, you could record the DJ output to both channel 1 & channel 2 and have different magnifications set for both. Then in post, the two tracks will be in sync and you can just select which one to use for the various segments. Lastly, keep an eye out for Firmware updates on the Zoom website as they potentially can change how the magnification works if they receive a lot of feedback about it.

[@lizziegsack]

Would I get better sound if I put my dJI mics into a Zoom F3? Total audio noob here but want to try and get best audio but smallest set up for doco

[@WayneRECs]

Thanks for your comment! Generally the cleanest audio is the shortest signal chain. And audio quality can be degraded anywhere along that chain. For instance, the cleanest audio would be from the internal recording on your DJI MIC. From what I've heard, once it's transmitted to the receiver, there could be a slight loss in quality. Then, in theory an F3 will record cleaner audio then say a camera's mic input, but it may be moot if what being sent has been compromised. Long story short, use the internal recordings on your DJI transmitters and sync in post to your cameras audio (that's being sent the DJI receiver's output)

[@lizziegsack]

so don't bother getting the F3? @@WayneRECs

[@Thatsmantas]

Instead get Rode wireless pro it has 32bit float and mics, great value. And you'll be able to pick up whispers and loud sounds without needing to set a gain.

[@rigocornejo6003]

The dji mics have a 8gb internal storage. You can record with the mic without using the transmiter, why would you conect the mic to the f3? If the mic alredy does the job.

[@rigocornejo6003]

Just record with the dji mic, it has 8gb storage, conect to the pc and transfer the audio files, you don't need the fx3 unless you have a se8, mkh416 or at2021 mics.

[@jamesb8193]

You should record both... internally and externally

[@Mintyseden]

zoom F3 => 32bit float ---- that would be another reason.

[@WayneRECs]

Hey Denis! Totally! I've been working on a 32-bit float video featuring the Zoom F3 and TBH, it's changed my workflow so much (for the better) that it's like a whole new world of recording!

[@israelc0605]

Honestly, the iPhone camera sounds better or just as good than most on-camera mics because of the distance between audio source and microphone.

[@israelc0605]

I record with my iPhone and boost it in post. There's a difference but the workflow is unbeatable. Focus more on producing and less on gear.

[@DMegaTronMD]

Before I'm into the video. I don't post so I have no idea what's connected to whatever else for sound. I've never understood why some channels record sound through their camera and computer speakers. It sounds horrible, and makes me skip em. It has to be a mic and connection or two. What's the correct process?