Zoom F8n Pro Professional Field Recorder/Mixer, Audio for Video, 32-bit/192 kHz Recording, 10 Channel Recorder, 8 XLR/TRS Inputs, Timecode, Ambisonics Mode, Battery Powered, Dual SD Card Slots

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Note: these are only estimates based on testing carried out by ZOOM, times may vary according to use conditions When connected to your computer, the F8n Pro can be used as a 8-in / 4-out audio interface. Record and stream in 32-bit float / 96khz while simultaneously recording to SD cards. GO MOBILE The F8n Pro's Ambisonics mode offers precision A-to-B decoding and balanced gain linking, enabling you to capture spatial audio for VR, AR and more. Zoom F8n Pro Features Values are estimates only. Values based on in-house testing methods. Results will vary greatly according to use conditions. Display

The F8n features a super-low noise floor (−127 dBu EIN) and high gain (up to 75 dB). Mic/line levels are selectable for both XLR and TRS inputs. channels to SD 1/2 192kHz sampling frequency (32-bit float/16-bit linear/24-bit linear) MAIN/SUB OUT ON, TIMECODE Int Free Run, LED/LCD brightness 60, 32 headphones, PHANTOM 48 V Please note that this extended warranty is currently only available on products sold within the UK, EU or EEA, and is subject to the terms and conditions as detailed on the extended warranty certificate provided. Talking of headphones, I think most F8 users would agree that the headphone amp was the weakest link in the original machine’s impressive capabilities. It was noisier than it should have been and the tonal quality seemed dependent on the headphone impedance. So I’m pleased to report that the F8n has been substantially improved in these respects. In fact, the headphone provision more generally is much better. Additional new headphone functions include the ability to change the response of the headphone volume control with three curves (linear, A, or S profiles), and up to 24dB of digital gain can be wound in to allow substantial monitoring levels even when recording with generous headroom margins.No levelling required thanks to the 32-bit resolution and high-quality mic preamps with up to 75 dB gain and less than -127 dBu EIN Bit Float is a game-changer. The F8n Pro uses dual A/D converters and professional-grade preamps to capture clip-free audio – without ever needing to adjust gain! MULTIPLE FEEDS

The F8n Pro’s Ambisonics mode offers precision A-to-B decoding and balanced gain linking, enabling you to capture spatial audio for VR, AR and more. OTHER FEATURES Das interne Routing der 1/2-Main-(L/R)-Kanäle und der 1/2-Sub-Out-Kanäle muss man auch erst mal einstellen, bevor an den jeweiligen Ausgängen das gewünschte Signal rauskommt. Für jeden der 8 Kanäle gibt es Limiter, Hochpassfilter, Panoramaregler und einzeln schaltbare 48V Phantomspeisung und vielleicht noch ein paar mehr Funktionen, die ich noch nicht gesucht/gebraucht habe. Man kann jeweils 2 benachbarte Kanäle auch paarweise zu Stereo-Kanälen (wahlweise R/L oder M/S) zusammenschalten, sowie das Gerät auch in einen Ambisonics-Modus versetzen, falls man ein dafür vorgesehenes Mikrofon besitzt. Accurate timecode input and output (0.2 ppm on and up to 0.2 ppm off) via conventional BNC connectors; drop-frame/non-drop formats with Jam Sync The F8n Pro’s Ambisonics mode provides precise A-to-B decoding and balanced gain-linking to capture spatial audio for VR, AR and more.When connected to your computer, the F8n Pro can be used as a 8-in / 4-out audio interface. Record and stream in 32-bit float / 96kHz while simultaneously recording to SD cards. Use eight AA alkaline batteries for 5 hours of power or plug in with the included AD-19 AC adapter.

Accurate Time Code input and output on BNC connectors (0.2 ppm in operation and up to 0.2 ppm after power off) Lange hab ich auf das ZOOM F8n Pro warten müssen, nun ist es da und ich hatte schon erste Anwendungen sowohl als Aufnahmegerät als auch als netzunabhängiger Mischer. Erst mal das Postive Fazit: Klanglich ist das ZOOM F9n Pro astrein, sowohl bei den Aufnahmen auf die SD-Karte als auch als Audioschnittstelle zu meinem Cubase und Wavelab auf dem Laptop.

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So in the simplest form, one preamp/A-D looks after the quieter sounds, and a second preamp/A-D takes the louder sounds. A DSP chip receives the outputs from the two converters and decides when to use the data from each on a sample-by-sample basis, effectively splicing them together to make a single converter with a much larger dynamic range than each individual element. The selected data is then slotted into a 32-bit floating point format with the appropriate amplitude scaling data which is what is recorded.