Zoom has almost singularly started a revolution in audio recording for productions, especially at concerts and events when you don’t have time to worry about audio levels because you’ve got enough to worry about in the camera department. When I bought the Zoom F6, their 32-bit float six-channel audio recorder, everything changed. It’s solidly built in a metal chassis, has versatile power options, performs well with high-quality pre-amps, and best of all lets you set-and-forget audio levels because of its 32-bit float recording (no peak clipping, no hiss when boosting attenuated sources) onto up to six discrete tracks.
Now I want 32-bit float audio recording in everything, and when RØDE eventually gets into the game (e.g., when their Wireless GO series finally natively records 32-bit float instead of merely upscaling at output), I’m all-in. So with that enthusiasm, when Zoom itself announced its M2, M3 and M4 MicTrak series of products, I ordered without hesitation the one that I estimated would suit my needs best: the M3, which is a camera-mounted stereo shotgun microphone that can record internally in 32-bit float besides also outputting conventionally to a camera’s stereo microphone input.
You can see it here mounted on top of my Sony FX30, a great pairing in scale and application. From the top view, you can see a three-position stereo mode selector: besides choosing OFF to maximize hypercardioid directionality in monaural sound, you can choose 90° for a narrow stereo image, or 180° for an expansive stereo image. Even better, this in-the-field decision can also be decided later using Zoom’s proprietary desktop computer software that lets you select between combinations of multiple tracks recorded onto the inserted micro-SD card in 32-bit float multichannel format. You’ll see that besides a power button, there’s also a high-pass filter (cuts lowest frequencies such as rumbles as some wind noise), as well as a red button to start/stop recording, and a playback control to start/stop only the most recent clip recorded.
On one side of the M3, you can see a 1/8″ stereo headphone jack, with an associated volume rocker, and on the other side, there’s an 1/8″ stereo output for the included coiled cable to plug into your camera’s 1/8″ stereo microphone input, if you want to record the microphone’s pickup into your camera’s video recording. Ironically, even if that quality would improve upon any camera’s internal microphones, I actually choose to leave the M3 unplugged, forcing the camera to record audio using its internal microphones as a foolproof scratch audio backup, ensuring something to sync with. After all, the differentiating point of this product is to record better, 32-bit float audio onto a micro-SD card inside the microphone, and that will later need to sync with (but also replace) lower-quality audio from somewhere. If something goes wrong with that coiled cable connection running in parallel from the same source (such as settings buried deep in cryptic camera menus), better to have something to sync to, than nothing at all. Note that there’s also a USB-C port: you can offload files from the micro-SD card this way (slower than a card reader), but it also accepts a power source for longer recording time (beyond an already generous 12 hours from a pair of AA alkalines).
The Zoom M3 comes with a just-alright typical foam windscreen, but you can buy a deadcat already designed for, e.g., the RØDE VideoMic NTG, that will fight hardest against severe wind. Overall, the product seemed like another winner to me, until…
Yikes indeed. Despite being the earliest adopter, before trying out my M3, I started seeing reports like the above of really big flaws, and the common theme was: Zoom’s simply going cheap on us. Whether it’s their big “boo-hoo” about pandemic inflation/supply chain issues, or just arrogance, I should have known from the moment I got the package: for the first time, it arrived in plain cardboard with simple black lettering and no pictures. The above “YouTuber” (ugh) notes the severe/abnormal handling noise afflicting the M2 and M4 that are literally built for hand-holding (oopsie!), as well as incredibly vulnerable RF shielding: basically, these damn things pick up every possible amount of radio frequency interference from stuff you don’t even own or have nearby. And this is not a case of “exceptions make the rule.”
But for my own tests, let’s start with the shock mount. Simply put, it’s a far cry from Rycote. Embedded at the top of this post, you’ll find my audio-only upload to YouTube that speaks for itself. In quick summary here, basically this mic will pick up on any buttons and dials that you lightly touch on your camera. Not good.
And worst of all, there’s the stunningly poor RF shielding. Another bad sign, yet it seems like a good thing at first: the M3 is ultra-lightweight plastic. That makes it easier to carry around, but without proper shielding, it means you’ll be severely compromising the reliability of your recordings with random interference in very many typical recording environments. Granted, my recording was in busy downtown Manhattan, but: isn’t that a fairly typical production environment? And notably, I’ve never had any shotgun microphone pick up on noise like this, ranging from my similar plastic RØDE VideoMic NTG, to my reference-standard Senn MKH 416. Bear in mind, the target market for people to buy this product, are those who want higher-quality, higher-performing sound quality at 32-bit float compared to the poor performance of low-grade 16-bit stereo pre-amps built into typical cameras at their microphone inputs.
In my recording here, I demonstrate how with absolutely no devices turned on in my studio, and just by wandering over to my window, I’m picking up on AM or FM broadcast radio that rises to a stunningly high noise floor. Basically, it’s some pop music station with shock jock DJs squealing over whatever else you’re recording through the microphone (in the case of my test, total silence around the microphone). Great!
Zoom is too gigantic and foreign of a corporation to meaningfully address this gigantic blunder. They will deflect if at all, declaring that “this product is designed for entry-level filmmakers who want all the latest features at a price they can afford,” but let’s not be fooled. Zoom’s engineers were completely aware of this worst-in-class severe interference, but their company estimated that you’re too stupid to care (or, enough of an impulse buyer to compromise). In hindsight, I’m not surprised: for two years or so, I’ve been back and forth with Zoom about a flimsy plastic washer on the top-mount bracket of their F6 that constantly gets stuck after tightening into the 1/4″-20 screw-hole on a camera base. The solution was simple: just use a metal washer, dummies! They’ve repeatedly deflected and waffled on their promises to fix it — so simple, and so dumb.
In all matters of creative enterprise, the credo prevails: never assume your audience is stupid. Let’s stay away from Zoom until they literally (and figuratively) clean up their noise.
I don’t know where to start on this… well, let’s start at the beginning. Firstly, 32 bit float does nothing in itself other than to avoid digital clipping. The system still suffers from any inadequacy in the mic capsules and analog circuitry that precedes the A/D conversion. It’s reasonable to expect that having gone to the lengths of providing 32 bit recording, manufacturers will try to provide as a good an analog stage as they can within the price point, but don’t expect more than that. You’ve mentioned the MKH416 in comparison at one point but that’s a mono mic costing about 3 times the price of the MS mic and recorder system built into the M3. You’ve also mentioned Rycote shock mounts, which cost at cheapest (here anyway) about 1/3 of the price of the entire M3 system. Really, you have to temper your expectations. You’ve referred to the woefully inadequate ‘review’ of the new Zoom devices posted by a YouTuber (at least we agree on “ugh”!) where he stated that the minimal cost Zoom H1N had good handling noise characteristics in comparison to these new models – really? Has he ever used one or seen a review of one? All such lightweight plastic devices suffer from handling noise problems – laws of physics, you can’t ‘float’ a mic capsule that weighs almost nothing to isolate it effectively from handling noise. Sure, in your YouTube upload I can hear the RF noise but it’s clearly been reproduced at massive levels of gain which would never be used in real-world productions by enthusiasts at which the M3 is clearly targetted. Indeed it would be better without it, but to call the device a “gigantic blunder” is more than somewhat over the top. I speak as one who has been digitally recording classical music using MS mics since 1984. From my perspective, I’d call it more of a miracle than a blunder. I await more real-world testing from others, but those I’ve heard so far, and end-users comments, lead me to believe the problems with this device have been much over-stated. Well, perhaps you will get out onto the streets of NY in due course and upload a demo of the M# problems there – if audible.
I can’t expect anyone to read every word, but really all of your comments are best addressed by simply showing you how my review as-written anticipated them: you wrote, “32 bit float does nothing in itself other than to avoid digital clipping. The system still suffers from any inadequacy in the mic capsules and analog circuitry that precedes the A/D conversion.” I wrote, “32-bit float recording (no peak clipping, no hiss when boosting attenuated sources).” You wrote, “You’ve mentioned the MKH416 in comparison at one point but that’s a mono mic costing about 3 times the price of the MS mic and recorder system built into the M3.” I wrote, “And notably, I’ve never had any shotgun microphone pick up on noise like this, ranging from my similar plastic RØDE VideoMic NTG, to my reference-standard Senn MKH 416.” Interesting that you strategically skipped my reference to the cheap VideoMic noting its acceptable RF shielding at the same price point. You wrote, “You’ve also mentioned Rycote shock mounts, which cost at cheapest (here anyway) about 1/3 of the price of the entire M3 system.” I would have written but didn’t need to, that small Rycote mounts are integrated into the entire RØDE budget shotgun line-up, including the VideoMic NTG. I was not pressing buttons on the microphone itself during the audio tests, just tapping camera keys in isolation. You wrote, “Sure, in your YouTube upload I can hear the RF noise but it’s clearly been reproduced at massive levels of gain.” I state clearly in the video that there is no gain, with the whole point being that I’m transferring raw audio from the M3 recorder. Did you listen through to the end? The broadcast radio station interference gets increasingly, comically loud. That would absolutely be audible and disruptive to recordings “in the streets.”
Excuses for Zoom are anti-consumer. It costs zero extra dollars per-piece-part to properly shield a device (again, compare with the cheap plastic VideoMic NTG). I note again, this is a case of a multinational conglomerate manufacturer seeing how little they can get away with. They knew exactly what they were doing.
Hey, good morning Paul
Thank you for the great review! Extremely detailed and helpful! I had recently purchased the Zoom M3 MicTrak before finding this review you posted. I noticed some of the key points you talked about. A big factor for me was how the mic will pick up any sounds from lightly touching buttons on the camera or mic, and the poor RF shielding.
Interested if you can offer your insight and any recommendations : Recently been trying to get into filmmaking and turn a hobby into a possible career. Trying to learn as much as possible about filmmaking and editing while still managing my engineering career until I can make the transition. I was looking to gain more knowledge in audio.
A big reason I was looking into this M3 mic was for the recording capability onto a card. One area I currently film is sports and a key components has been filming at high frame rates. I have a Sony A7S3 and it offers up to 240 fps, although at that frame rate it doesnt record audio. I have a Deity D3 Pro shotgun mic and was looking to see if there’s any way to get an audio recorder that I can connect to my current shotgun mic for when I’m filming at 240 fps? Any Ideas ?
Thanks, I greatly appreciate your help!
Hi Marc: I’ve been shooting a lot with the Zoom F2 which is a really tiny audio recorder that’s designed for capturing audio from its included lavalier microphone, but you can also connect the Deity D3 Pro into that input for a separate recording capability that would live alongside your 240fps mode that does not record audio. You can find the F2 for about $150 when it’s on sale, and the main reason to recommend it is that it’s so tiny (can practically be strapped onto/around the D3 Pro) but also it records in 32-bit float: much like the M3’s intended value (compromised by its poor design), it can’t clip unless you make your microphone too hot for the analog input jack on the F2. So, no need to monitor levels in the field. You just want to crank your D3 Pro (or any connected microphone with separate gain controls) down enough that the loudest sound wouldn’t surpass a zero dB relative gain at its output into the F2. I’m currently using a Rode VideoMic NTG this way, achieving what the M3 tried but failed at.
Another option for more versatility is to buy one of those tiny wireless microphone packs from Rode or others that lately include internal recording capability, though you lose the 32-bit float insurance policy against clipping (e.g., the luxury to stop worrying about setting the audio levels). Hope that helps!
Hey Paul,
Thank you, I greatly appreciate it! Your insight is extremely helpful. I’ll go ahead with the zoom recommendation you mentioned. An excellent option all around.
Thanks
I’ve just purchased the Mictrak M3 for my Canon R5 and R7 cameras. I’d read most of the preliminary reviews and still went ahead and bought this thing.
My copy is a later release which has supposedly improved RF suppression.
Yes, the build quality is pretty cheap and flimsy but I always take care with my gear.
Haven’t noticed any handling noise on my videos, outdoors or inside my studio. I’m a musician and I’m very impressed with the quality of my recordings with the M3. Recording is so easy without having to worry about levels.
Thanks for this review. I am also an M3 owner but I mostly have used it for recording wildlife sounds. I was also an early adopter and my first one was a bit sensitive to wifi signals. I didn’t have much problem with radio or other EM signal interference, but I didn’t record much in large metro areas.
However, I also contacted zoom when they put out a recall on the first ones produced. Mine was one of the early serial numbers that was supposed to have this interference problem. They replaced it free (as they did all the other problem units).
My new M3 has shown none of these problems. Yes, it is plastic and has handling noise if you are clumsy with it, but no more so than any other solid plastic recorder (Zoom H1, Zoom H4/H4n come to mind – both of which I’ve owned).
Unfortunately most of the reviews online are from the early adopters complaining about this EMF interference. Those reviewers (justifiably) panned it in their reviews. It seems that no one has bothered to revise their reviews after the recall? That’s a shame, because this is a really unique recorder and now that zoom has dealt with the EMF issues in the early serial numbers, it is quite a useful recorder. But it will die on the vine probably since those negative reviews (that are no longer valid) won’t be taken down and reviewers won’t give it a second chance.
Appreciate your comments; but Zoom earned the results of their mistake and then did not proceed to make any contact about this – so, why revise the review based upon hearsay? And even if you found the RF interference to have been mitigated, I have read reports of continued RF interference after the recall, albeit reduced: still worse than comparable products and form factors like the Rode VideoMic NTG. All such designs are trade-offs and compromises: when I need gear bullet-proof from interference, I use tanks like my Senn $1k MKH 416 (even though it’s a hassle in other ways). But the most important thing is that the Zoom works for you, and for that, I’m glad.
The recall deserves a footnote, at least acknowledging the recall and a fix for some of the interference issues perhaps with a disclaimer you haven’t tested a fixed version. That you are aware of a recall because of a claimed manufacturing defect, and completely ignore it means perhaps we shouldn’t trust your writings. I understand the effort you put into the initial tests and the poor results, but two wrongs don’t make a right.