Or you may do crazy compression/limiting without understanding what it does and why it sounds like rubbish. If this process is automated you may think it's fine to just post the recordings as they are. Understanding gain is important not only in the field, but also when you bring the recordings back to the studio and start thinking about sharing them. Automating some aspects of field recording might be ok, but setting gain correctly is something everyone should learn at the beginning of their sound recording journey. I might sound like an old person, but I hope that’s not where things are headed. “You don’t need to set up your gain anymore” sounds great for marketing, but I would have preferred that option nevertheless. That has been a deliberate design choice, since it allowed Zoom to sidestep traditional gain pots. The Zoom F3 offers 32 bit recording only. I will update this review if I encounter any issues with it. The little spring that pushes it back out seems a bit soft on one of my devices, although the other one seems fine. It is a bit fiddly to put in and take out, especially with fat fingers like mine. The only complaint I have here is about the microSD card. The buttons are solid but I still haven’t been able to get used to the user interface yet. The scrolling waveform looks great for photos and marketing but I don’t find it particularly useful. The front screen is ok, although refresh rate seems a bit low. It looks and feels a bit unconventional but I got used to that pretty fast. The metal and hard plastic build make it feel solid and reliable in the hand, with weight that feels reassuring instead of heavy. It’s been ok with bumps and hits in dry bags so far, showing no signs of damage. It’s very well built for the most part, with an interesting, almost cubic form factor.
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