Zach’s Recorder Recommendations

Zoom H1essential

$110

• This is the 32bit update of the older Zoom H1n. (I like the original better, but it was discontinued in 2025). This is the only Zoom “essential” series recorder I recommend, and that’s just because there’s no Zoom “studio” series equivalent at this size / price. I would seriously consider getting a larger “studio” series recorder instead (scroll down).
• Pro: 32bit float recording format (which makes it ideal as a tiny “drop rig” for overnight recording)
• Pro: Complete multilingual voice prompts for blind or visually impaired users.
• Pro: It can record in mono mode (The earlier H1n was stereo only.)
• Con: 32bit is a worthy upgrade here if you’re only worried about loud sounds clipping your recordings. But this recorder has such hissy preamps that you’ll be unsatisfied when amplifying quiet sounds in post because you’ll be amplifying the noise too. So you’re missing out on half the magic of 32bit.
• Con: No gain knob or limiter
• Con: Very bad handling noise. You really can’t hand-hold it while recording. (much worse than the already bad H1n)
• Review: https://www.youtube.com/watch?v=upAzEX4kexY

Sony PCM-A10

$300 (!)

• I hesitate to list this because it’s very expensive (a common Sony trait), but it has a following among field-recordists. Perhaps this is due to Sony’s lineage of excellent recorders (like the M10 and D100) compared to Zoom’s history of crappy recorders in the early 2000’s? It does seem to be better than the Zoom H1essential in some important ways, but it costs almost as much as some of the larger recorders with much better preamps!
• It’s smaller than the Zoom H1essential, and seems to have marginally better preamps (-116dB EIN)
• No 32bit float (which would be very useful for overnight “drop rigs” or SFX recording in dynamic places)
• The built-in mics can be flipped to add a little more distance for better stereo imaging than the Zoom, but the internal mics on small recorders are universally bad. I would usually use these recorders with external mics.
• Internal Li-Ion battery has long recording times, but I am not a fan of internal batteries. You can’t swap batteries mid-shoot, and the internal battery will eventually wear out and turn the whole recorder into e-waste. (you can power via USB power bank, though)
• A thorough review
• a comparison with other small recorders

Zoom M4

$200

• Cheapest high quality 4-channel recorder with XLR inputs and 32bit format
  (Big thanks to a reader who let me know about this recorder that flew under my radar. It seems like it’s probably getting discontinued soon (2025/2026) now that the H series “studio” recorders are released. I had ignored it because the smaller M2 was pretty terrible, but it seems like a great option while it lasts!)
• The physical design of this unit is ridiculous. it looks like a giant plastic karaoke mic from AliExpress, with tiny buttons that can’t be seen in the dark. XLR cables stick out of either side, so you’ll probably want right-angle connectors to make it more manageable. BUT, it reportedly sounds fantastic.
• Early versions had terrible sensitivity to RF noise and some people had trouble getting XLR cables stuck in the recorder’s mic jacks! Apparently Zoom fixed the RF problems in 2022, but beware if buying a used one!
• 4 channel simultaneous recording (Built-in stereo mic or 1/8″ input + 2x XLR)
• It records in 32bit float format, so you don’t need to set recording levels!
• Excellent mic preamps (A-weighted EIN: -127 dBu for XLR inputs). This is barely distinguishable from Sound Devices and other high-end recorders.
• 192kHz samplerate for recording ultrasound (for capturing bat calls, or pitch shifts for sound design)
• All Zoom recorders also function as USB audio interfaces, so you can connect mics to your computer.
• 4x AA battery life is great (> 10 hrs without phantom power).
• Built-in XY mics seem to be better than earlier H series (H4, etc)
• Has 1/8″ mic input with plug-in power (unlike the more expensive Zoom F3)
• The XLR inputs are “combo” jacks, so you can plug in 1/4″ cables. (unlike the more expensive Zoom F3)
• Internal timecode generator for syncing with video cameras (unlike the more expensive Zoom F3)
• Fast startup time (5 sec with 16GB card)
• No gain knob to get in the way of a furry windscreen on the built-in mics (a common problem with Zoom “H series” recorders).
• Pre-release review

Zoom F3

$330

• Best tiny recorder with XLR inputs and 32bit format
  
• It records in 32bit float format, so you don’t need to set recording levels! (Scroll down for more recorders with this feature.)
• Excellent mic preamps (A-weighted EIN: -127 dBu). This is barely distinguishable from Sound Devices and other high-end recorders.
• 192kHz samplerate for recording ultrasound (for capturing bat calls, or pitch shifts for sound design) The analog outputs also perform well at ultrasound frequencies: The line out is only -1dB at 85kHz. The headphone out is -1.9dB at 85kHz.
• Rugged metal body that literally fits in the palm of your hand. It’s not really designed for over-the-shoulder use, but you can put it in a belt pack or sling bag, or get creative with velcro straps looped through the metal rails.
• All Zoom recorders also function as USB audio interfaces, so you can connect mics to your computer.
• 2x AA battery life is mediocre (2-3hrs with phantom power enabled) but no worse than other pro-level recorders, and extendable via a USB-C power bank.
• No 1/8″ mic input, which is disappointing. The recorder pairs very well with low noise electret mics (DIY with Primo or PUI capsules, LOM Usi, FEL Clippy, etc). The capsules in those mics are designed for 1/8″ cables and low voltage “plug-in-power.” To use them with the F3 you need to get the XLR version of the mics (slightly more expensive), or add 2 powered XLR – 1/8″ adapters to the 1/8″ mics. In either case you’ll need to keep phantom power enabled (which drains the recorder’s batteries quickly).
• Unfortunately the XLR inputs are not “combo” jacks, so you’ll need adapters if you want to plug in 1/4″ cables.
• Acoustic Nature has and excellent in-depth review.

Zoom H5studio

$350

• Best mix of reasonable size, reasonable price, extremely low noise (A-weighted EIN: -127 dBu), good battery life, and good user interface
• This recorder sounds just as good as the Zoom F3 above (for a similar price), but the H5studio also has gain controls, built-in mics and 2 more tracks of recording. (It’s much bigger, though, to accommodate all the extra features.)
• This is the 32bit update of the Zoom H5 (which I recommended for years as the best price/performance recorder). If you don’t need the 32bit recording, you can save money by going with the older Zoom H5.
• 2 XLR inputs with phantom power (actually “combo” inputs so you can plug in 1/4″ cables without adapters)
• Includes a snap-on XY cardioid mic module with a nice stereo spread (+ 1/8″ input with plug-in power). The XLR and snap-on module inputs can be recorded simultaneously for a total of 4 isolated tracks (+ stereo mix)
• 192kHz samplerate for recording ultrasound (for capturing bat calls, or pitch shifts for sound design)
• Good AA battery life (extendable with any USB-C power bank)
• All Zoom recorders also function as USB audio interfaces, so you can connect mics to your computer.

Zoom H6studio

$400

• Same as the H5studio above, but larger to accommodate 2 more XLR inputs
• Note: 4 XLR cables + headphones hanging out of the sides of a “hand-held” recorder is a bit much. If you don’t need the built-in mic often, I think it’s smarter to use a “field-mixer” style of recorder that can be operated over the shoulder in a bag. (see below)

Tascam DR-70D

$265

• (Also see the upgraded Tascam DR-701D, now discontinued but available used. I describe both here.)
• These recorders are the cheapest way to get 4 excellent preamps & shoulder-hung form-factor.
• 4 XLR mic inputs with phantom power + stereo 1/8″ mic input with plug-in-power (any 4 recordable simultaneously)
• Great low-noise mic preamps (70D: -126 dBu, 701D: -128 dBu A-weighted EIN)
  
• Limiters are digital, so they don’t protect against severe clipping (typical for this price range)
• Designed to mount on/under a DSLR, or hung from a shoulder strap, so it hangs with the meters facing you, essential for many field recording situations.
• The internal mics are omnis and mediocre, but shoulderable recorders are not really designed for hand-holding, so that’s nothing to complain about.
• Battery life isn’t great using 4x AA, but you can power via USB power banks. (Other multichannel recorders also have short battery life when using AA cells.)
• I find the menu pretty cumbersome, but there are shortcuts to simplify it.
• 701D improvements over 70D: Metal chassis with more durable connectors, better preamps, 192kHz sampling (in stereo mode only), SMPTE TC generator with HDMI & BNC inputs, can monitor individual channels during recording (a very useful thing).
• 70D reviews from transom.org and Sam Mallery.
• 701D reviews from Sam Mallery and Curtis Judd

MixPre-3 II: $950

MixPre-6 II: $1140

 (There are more recorders in the MixPre series but I focus on these because they’re the most affordable)

• Awesome preamps.  (A-weighted EIN: -130 dBu)
• All-metal construction, thoughtfully designed.
• The MixPre-3 has 3 XLR inputs (no 1/4″ inputs) & an 1/8″ stereo input with plugin-power. It can record a maximum of 3 inputs simultaneously. (2023 update: The $79 +2 plugin adds 2 more simultaneous tracks)
• The MixPre-6 has 4 XLR inputs (each accepts 1/4″ too) & an 1/8″ stereo input with plugin-power. It can record all 6 simultaneously. It can also record in ambisonic formats with headphone decoding to stereo.
• In 16 or 24-bit mode, the limiters are analog and very transparent, so unexpected loud signals generally won’t overload the digital section of the recorder. (This video illustrates why this is important.)
• Optional 32-bit recording modes means you don’t need to set input levels anymore. Loud sounds won’t clip and cause distortion (and limiters are disabled). Great for unattended recordings or very dynamic situations.
• Internal timecode generator for syncing with cameras.
• Both recorders support 192kHz sample-rates, so you could capture ultrasound signals and slow them down to become audible.
• Touch-screen interface is very intuitive, and channel setup is very quick. (Push a channel knob to immediately access its settings like routing, HPF, phantom power, linking…)  Unfortunately the headphone knob is difficult to reach when recorder is in a bag.
• The gain adjustment is very configurable: In “advanced” mode the physical knobs are faders and you need to click them to adjust trim. In “basic” mode the knobs control trim and the faders are basically locked at unity gain. This is great if you care more about the ISO’s rather than the stereo mix. Transom has a very thorough explanation of this in their MixPre User’s Guide.
• Very power-hungry. The included 4xAA battery sled will only last about 2hrs. Most people buy the adapter to mount Sony camcorder batteries on the back, but it costs extra and it’s physically awkward (see reviews). I made my own DIY battery backpack for mine.
• Both recorders function as “class compliant” USB audio interfaces, so they generally don’t need drivers. (The max sample-rate in this mode is 96kHz for both recorders.)
• I have extensively used the MixPre-6 (original version). See my notes about it here
• Review from Transom (focused on journalism and podcasting) (original version)
• Short review from sound artist Jez Riley French (original version)
• Review from SFX field-recordist Zdravko Djordjevic (original version)
• Video review from Curtis Judd (version II)

Zoom F4

$used

• Discontinued, but probably available used.
• 4 XLR inputs (each accepts 1/4″ too) with phantom power + a special connector for Zoom’s mic modules, for total of 6 tracks of simultaneous recording.
• Awesome preamps.  (A-weighted EIN: -127 dBu)
• The limiters and low-cut filters are not very useful, since they’re actually just software. This video illustrates the problem.
• It costs less than the cheapest Sound devices recorder, but has more inputs.
• Internal timecode generator for syncing with cameras.
• This recorder is larger but easier to use compared to the newer F6 below. The knobs are larger, it has more dedicated buttons, and the menu and metering are very clear and intuitive.
• You can assign the front panel knobs to be either trims or faders, depending on which view is selected on the screen.
• Review

Zoom F6

$700

• This tiny recorder was release several years after its F series siblings. It has identical preamps but differs in other important ways. At the moment I find it very annoying to use, but it has the best price/performance ratio if you want 32bit recording and > 2 XLR inputs. Many people love it.
  
• 6 XLR inputs (No 1/4″ or 1/8″ inputs so you’ll need adapters for those).
• Awesome preamps.  (A-weighted EIN: -127 dBu)
• 32-bit recording
• Internal timecode generator for syncing with cameras.
• Excellent battery life (4x internal AA batteries last over 3 hours with all 6 channels running at 32bit / 192kHz + phantom power. Put a Sony camcorder battery on the back for much longer runtime, or use USB-C power.)
• I think the user-interface is terrible! It has no relationship to the reasonable controls of the F4 or F8, or the wonderful interface of the Sound Devices recorders. (Maybe this is just me though.) Like it’s smaller sibling, the Zoom F3, this recorder is best for “set it and forget it” roles, rather than field mixer roles. If you need to send a competent mix to camera while recording ISOs, this recorder will frustrate you.
  – The knobs are tiny, and in linear mode they function as faders only, not trim. This can be addressed with a menu setting in 32bit mode, but in linear mode you need to click 2 pages deep into the menu (no touch screen) and using up/down buttons to adjust the trim. Not fun while your signal is clipping! (Irrelevant in 32-bit mode because it won’t clip.)
  – Linking channels requires lots of menu wrangling and the trim linking is totally separate so you need to do everything twice.
  – Not all buttons are backlit, so it’s hard to see in the dark
  – The red indicators on each channel knob don’t blink when the signal clips (like they do on other Zoom recorders) and the screen is very small, so it’s hard to notice clipping if you’re far away. (Irrelevant in 32-bit mode because it won’t clip.)
• Review by Curtis Judd.

Zoom F8n Pro

$1,200

• 8 XLR inputs (each accepts 1/4″ too) with phantom power + a special connector for Zoom’s mic modules, for total of 10 tracks of simultaneous recording.
• Awesome preamps.  (A-weighted EIN: -127 dBu)
• 32-bit recording
• The limiters and low-cut filters are not very useful, since they’re actually just software. (This video illustrates the problem.) But with 32bit recording it doesn’t matter.
• Internal timecode generator for syncing with cameras.
• This recorder is larger than the F6 above, but much easier to use. The knobs are larger, it has more dedicated buttons, and the menu and metering are very clear and intuitive.
• You can assign the front panel knobs to be either trims or faders, depending on which view is selected on the screen.
• It has a “slate mic” (a tiny onboard mic so you can “voice-slate” your takes each time you press record). This sounds small but it’s really useful, especially if your mics are far from your recorder (underwater?) so there’s no other way to verbally mark your takes.
• Review of older 24bit version

Zoom F1

$170

• Includes a mono lav mic (but supports external stereo mics with 1/8″ plugs)
• This is basically the same electronics and great user-interface as the (now discontinued) Zoom H1n, but in a more rugged package and no built-in mics.
• A little bigger than the Tascam below.
• Runs for 10 hours on 2x AAA batteries

Zoom F2

$180

• Includes a mono lav mic
• Similar to older F1 above, except:
  – 32-bit recording (mono only!)
  – slimmer size
  – wireless timecode sync

Tascam DR-10L Pro

$150

• 32-bit recording (upgraded from earlier non “pro” version)
  
• It records only in mono
• Includes a mono lav mic.
• Bluetooth support (with optional adapter)
• timecode support
• Runs for 8 hours on a single AAA battery

FEL Communications Ltd. (micbooster.com)

• UK-based seller (but shipping is easy to North America and elsewhere)
• Individual mics, matched stereo pairs, and DIY parts (including raw mic capsules to make your own mics)
• They have mics based on the Primo EM272, Primo EM258, and other capsules (including ultrasonic-capable mics)
• Example price: Approx $140 + ship for a stereo pair of 10mm capsules

Sonorous Objects

• US-based seller
• Modular mics in 2 sizes (13mm and 20mm diameters) with cables to accommodate 1/8″ or XLR connections.
• They have mics based on the Primo EM172, Primo EM258, and Primo EM423.
• Example price: Approx $200 + ship for a stereo pair of 10mm capsules with 1/8″ connector

Immersive Soundscapes

• France-based seller
• Individual mics, pairs, and clever designs to fit common recorders (effectively adding “built-in” mics to recorders that lack them).
• They don’t publish their mic capsules, but the specs are similar to the others I show here. (The 10mm capsules look like PUI 5024, which are very similar to Primo EM272.)
• Example price: Approx $105 + ship for a stereo pair of 10mm capsules with 1/8″ connector

LOM

• Slovakia-based seller (the first to commercialize these DIY-inspired inexpensive mini mics)
• Individual mics, pairs, and a full range of mounts and accessories.
• Supplies are very limited. (Productions runs happen in batches that sell out quickly.)
• Example price: Approx $115 + ship for a stereo pair of 10mm capsules with 1/8″ connector

Build binaural mics using Low Noise Mic Capsules

• Follow the link for my post about building very low noise omnidirectional mics from inexpensive capsules. They will sound very similar to the mics above, but very cheap and customizable.
• Price varies, but the capsules can be as low as $3 each!

Rode
Stereo VideoMic Pro $299

Stereo VideoMic X $599

• These Rode stereo mics are designed for camera mounting (which is usually the worst place for a mic, BTW) but they are reasonably small so they’re easily adapted for hand-holding or mounting on a boom pole.
• The Stereo VideoMic Pro is a good price/performance compromise, and it comes with a shockmount and windscreen. It’s powered by a common 9v battery and it sounds great for the price. It has an 1/8″ output so you’ll need an adapter to plug into the XLR inputs on some recorders.
• The Stereo VideoMic X is extremely flexible (9v battery or phantom, XLR or 1/8″ outputs) and much lower noise (12 dB) for extremely clean recordings in quiet settings. It’s expensive but seriously well-made and comes in a kit with 2 windscreens. It’s a bit heavy, and you need to press a button to turn it on, even when phantom-powered (which makes it less convenient).

Audio Technica BP4025 stereo mic

$650

• This one-piece stereo mic is expensive but it has remarkable stereo imaging and very low noise (subjectively less noise than the excellent Rode Stereo Mic X above), remarkably better than the mikes built into any recorder I’ve tried.
• Stereo imaging is very wide, but there is a bit of a “hole” in the middle. It’s a good mic for capturing the ambience of a place, but not for highlighting solo foreground sounds.
• It requires phantom power and is a bit heavy for field use.
• I modified mine to make it shorter/lighter and 3D-printed some wind protection.

Deity V-Mic D4

$99

• Deity is a new-ish Chinese company that has been making very impressive microphones.
• Includes windscreens and shockmount
• Uses AAA battery
• 1/8″ output, or can be directly attached to computers and phones via USB-C
• Self-noise: 12 dB (A-weighted)
• Curtis Judd video review

RODE VideoMic GO II

$99

• Similar to the Deity mic above, but doesn’t come with a fur windscreen so you’ll need to buy one to use the mic outdoors.
• Self-noise: 15 dB (A-weighted)
• 10 year warranty (if you buy from a legit reseller and register the mic online)
• Curtis Judd video review

Deity S-Mic 2S

$320

• Deity is a new-ish Chinese company that has been making very impressive microphones. This is a shorter version of their well-regarded S-Mic 2 (see below).
  
• The tone is more muffled than the NTG5 below, and it’s slightly noisier, but it’s tiny, cheap, and sounds good.
• Self-noise: 15 dB (A-weighted)
• Very moisture-resistant
• 6″ long
• Curtis Judd video review

Rode NTG5

$500

• This is my overall recommendation for best shotgun mic.
• This mic is shorter, lighter and cheaper than Rode’s “flagship” NTG3 shotgun, and sounds slightly better too (less exaggerated bass, more clarity). It’s quite amazing, comparing very favorably with the Sennheiser MKH416 (> $1000).
  
• Exceptionally low self-noise: 10 dB (A-weighted)
• RF-biased technology is immune to high humidity.
• Early models had some quality-control problems, exhibiting symptoms like whining oscillations, hissing static, etc. It seems like Rode replaced faulty units under warranty, though.
• Includes softie and shock-mount, so it’s a really good deal.
• 10 year warranty (if you buy from a legit reseller and register the mic online)
• 8″ long
• Curtis Judd video review

Deity S-MIC 2

$360

• Deity is a new-ish Chinese company that has been making very impressive microphones. This one is a blatant ripoff of the venerated Sennheiser MKH416 (see below) and it sounds really good.
• Self-noise: 12 dB (A-weighted)
• Curtis Judd has an excellent “first impressions” review comparing it to the much more expensive DPA 4017B and the similarly-priced Rode NTG4+.
• One question: Will you be able to get it repaired 10 years from now, like Sennheiser & Rode? Hmm.

Rode NTG3 

$680

• This “RF biased” shotgun sounds similar to the Sennheiser MKH series below, with a different noise character and more bass (which can be a problem if your recorder lacks an analog high-pass filter option).
• Self-noise: 13 dB (A-weighted)
• Rode mics have 10 year warranties and excellent support
• (Rode’s cheaper NTG2 mic has much less gain and is noisier and less directional – avoid it)

Sennheiser MKH series (MKH416, MKH60, MKH8060)

$1000 – $1600

• These expensive “RF biased” mics set the gold standard for shotguns for 30 years. They sound amazing and are very moisture-resistant and durable. However, the cheaper options above are generally just as good.
• The real benefit of such an expensive mic is long-term repair: Sennheiser can fix your mic or sell you parts for many years to come.
• Self-noise: 13 dB (A-weighted)
• The 416,60, and 8060 are from different eras with different sounds, but they all sound great.