The recorder is usually the first piece of equipment you buy when getting into field recording. The choice is vast, every model has its strengths and weaknesses, and each one is designed for a different workflow. For years I’ve been testing the market standards — first out of curiosity, then out of necessity, because every microphone I build has to be auditioned on equipment whose character I know inside out. So here is my comparison — not based on spec sheets, but on years of real-world use, in the field and in the workshop.
These devices don’t all play in the same league, nor at the same price. To make sense of it all, I’ve grouped them into four families:
The Zoom F3 is a genuine field recording best-seller, and for good reason: 32-bit floating point recording takes the stress out of setting levels, the preamps are vastly improved over the H series (H5, H6, H8…), and it “almost” fits in your pocket. It’s the ideal tool to get started with quality equipment, take on trips, or set up drop rigs.
A few things still bother me and keep it from being truly top-notch:
Who is it for? Anyone starting out, traveling, or wanting a second unit to leave on a drop rig without worry.
When it came out, I immediately thought it would replace my trusty DR100. The promise was great: 32-bit floating point, color screen, timecode, XLR and PIP inputs, Bluetooth headphones. Reality was a disappointment:
And worst of all: within a few weeks, loose connections appeared on the XLR inputs and headphone output, making it unusable outdoors. The ZWEE connectors are fragile and of poor quality — the mini jack broke within two weeks, while my DR100 has handled daily workshop use for five years without a problem.
Sound quality is its strong point, but that’s not enough. I hardly use it anymore.
Who is it for? Honestly, hard to recommend as it stands, despite decent sound.
One of the most underrated recorders on the market. The recording quality is incredible: clear, refined, detail-rich sound with very low background noise, in a highly portable format.
Its XLR inputs (48V phantom power) open the door to high-end professional microphones. The high-capacity internal battery is a real comfort when traveling, and two AA batteries can take over to extend runtime. The metal casing is built to last.
I’ve been using mine every day for five years to test all my microphones in the workshop, and it works like new — battery included. It’s the best value for money I’ve tested. Only downside: it’s no longer sold new, so you’ll have to hunt for it second-hand. And note that my comments only apply to the mkIII version.
Who is it for? Anyone who wants a reliable, simple, excellent device for the long haul and doesn’t mind buying used.
The MixPre has attracted a lot of attention, rightly so: excellent sound quality, a high-quality headphone output, and a flat design that slips easily into a bag. It accepts both XLR and PIP microphones, making it very versatile, in a robust build. A quasi-professional device at a rather high price — but a justified one.
What I’d like to see fixed in a future version:
Who is it for? Anyone who wants to get close to professional sound without going full high-end, and can manage the power situation.
I’m still getting the hang of this one. On paper, it stands out from the consumer market: AES recording, 32-bit floating point, internal memory. Build quality seems good, despite somewhat flimsy knobs and Chinese-brand XLR connectors. I’m testing it over time and will publish a detailed review in the coming weeks.
Who is it for? To be continued — the features are interesting, the verdict will come with time.
Nagra is the brand behind field recording, going back to its first tape recorders. These devices have accompanied journalists around the world to capture history.
This was my first Nagra, and I immediately understood what makes the brand so renowned: no need to dig through menus, every function falls under your fingers, nothing is left to chance. The sound quality lives up to the reputation — superior to the Zoom and Sound Devices MixPre units, with truly breathtaking depth and realism.
One black mark, and not a minor one: the headphone output is average, with little bass and a noticeable hiss.
Who is it for? Anyone who wants the Nagra sound at the entry point of the range and will monitor on something else.
I dreamed about this device for a long time — it took me three years of hunting before I found the one that belonged to Fernand Deroussen (naturo-phonia.com), whom I still thank. Much better than the LB: a truly incredible headphone output, amazing sound, a well-designed touchscreen menu, and good battery life.
It’s a device with incredible charm, designed for stereo recording: plug in, press record, and you’re good to go.
Who is it for? The stereo recordist who wants simplicity and the Nagra sound with no compromise on monitoring.
Nagra’s ultimate achievement in digital recording. Four preamps plus four more inputs (AES or line), for a total of eight possible inputs — perfect for my comparative studio tests, outputting AES to my RME Fireface.
Its special feature, rarely mentioned: the preamps are equipped with transformers (which can be disabled) that add something to the sound — difficult to describe, but it brings more presence and clarity. Disabled, you get the sound of the Nagra Seven.
The menus are extremely simple, the main functions accessible on the front panel: you can’t go wrong. The headphone output is exceptional — I sometimes plug in just to listen to nature, without even recording.
It’s heavy, it’s expensive, but it’s my sound reference: it reveals the quality of every microphone you plug into it. Studio sound reminiscent of a Neve console — but portable.
Who is it for? Anyone looking for a reference, a definitive working tool, who can live with the weight and the price.
My new favorite for travel: it has already accompanied me abroad several times without a hitch. The all-metal build quality is on par with the sound — precise and smooth at the same time, breathtaking. It may seem intimidating at first glance, but its well-thought-out design makes it easy to use. In addition to its two top-of-the-line analog preamps, it records up to 8 digital tracks (AES) simultaneously.
Who is it for? The demanding traveler who wants the very high end in a compact format.
This small box is solely a preamplifier — a true Swiss Army knife, and fittingly, made in Switzerland. Analog preamp, AES42 digital preamp, excellent headphone amplifier, AES3 inputs and outputs… Its construction is uncompromising and its qualities rival Nagra. The sound from this pocket preamp is incredible: it has become one of my main preamps whenever I’m chasing maximum quality.
Paired with the Tascam via an SPDIF digital connection, I get an ultra-high-end and decidedly portable combo. A Lectrosonics SPDR will soon join it to free up my workshop Tascam.
SQN mixers have served countless journalists and sound engineers: you’ve probably heard the SQN sound without knowing it. The first version was designed to give Nagras more gain, with the same attention to quality.
Built to withstand the toughest conditions, with exceptional preamps, plenty of headroom (hard to saturate) and a built-in analog limiter often considered one of the best on portable equipment. The only drawback is the weight — it’s built like a tank. But the wow effect is still there, with a natural, rich sound.
Sonosax simplicity and efficiency in a super-compact mixer, battery-powered, complete with a carrying handle. Six analog channels from the ’90s… still relevant today thanks to their low noise and dynamic range. Every knob has been working flawlessly for 30 years.
| Device | Type | Strengths | Weaknesses | My Verdict |
|---|---|---|---|---|
| Zoom F3 | Compact recorder | 32-bit float, improved preamps, price | Mediocre headphone out, no internal battery, unfiltered USB | Ideal to get started |
| Tascam FR-AV2 | Compact recorder | Sound quality, 32-bit, timecode | Fragile connectors, plastic case, reliability | A disappointment |
| Tascam DR100 mkIII | Portable recorder | Clear detailed sound, rugged, internal battery | No longer sold new | Best value for money |
| MixPre 3/6 | Quasi-pro recorder | Excellent sound, good headphone out, XLR + PIP | Huge power draw, small screen | Very good, but power-hungry |
| Deity PR-4 | Recorder | AES, 32-bit float, internal memory | Flimsy knobs, connectors to watch | Under review |
| Nagra LB | Pro recorder | Remarkable depth and realism, ergonomics | Average headphone out | The Nagra entry point |
| Nagra SEVEN | Pro stereo recorder | Incredible headphone out, touchscreen, battery life | Rare, price | Pure charm |
| Nagra VI | Pro multitrack recorder | Transformer preamps, 8 inputs, exceptional headphone out | Heavy, expensive | My sound reference |
| Sonosax MiniR82 | Compact pro recorder | Superb sound, all-metal, 8 AES tracks | Intimidating at first | My travel companion |
| Sonosax SX-M2D2 | Preamp | Nagra-level quality, AES42/AES3, headphone amp | Preamp only (no recording) | The Swiss Army knife |
| SQN 3M/2S/4S | Mixer | Exceptional preamps, analog limiter, headroom | Weight | The sound of history |
| Sonosax SX-S | Analog mixer | Low noise, 30-year reliability | Analog only | Unbreakable |
You’re starting out or traveling light
→ the Zoom F3. 32-bit float forgives everything, and the preamps are good. Just plan on judging your takes through a proper headphone output elsewhere.
You want a device that lasts, without breaking the bank
→ the Tascam DR100 mkIII, second-hand. Five years of daily workshop use and it works like new. It’s the one that tests every microphone I ship.
You’re after quasi-pro versatility
→ the Sound Devices MixPre 3/6, provided you plan your power supply (NP-F adapter).
You want reference sound, no compromise
→ a Nagra (the SEVEN for pure stereo, the VI for multitrack and those transformers) or the Sonosax MiniR82 if compact size matters to you.
You want to elevate an existing recorder
→ a Sonosax SX-M2D2 preamp via digital, or an SQN mixer for that rich, present analog character.
