Read This Before Buying the Zoom H6 All-Black — SKYES Media

Your question might be answered by sellers, manufacturers, or customers who bought this product. Please make sure that you are posting in the form of bone: question. Please enter a question. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

Instead, is zoom h6 a good audio interface – none: system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness. Skip to main content.

Consider these alternative items. See All Buying Options. Have one to sell? Sell on Amazon. Image Unavailable Image not available for Interfcae. Visit the Zoom Store. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content.

H6 pre Model. H6 All Zolm Model. Updated other options based on this selection. See all 2 options. Display 2. Customers who bought this item also bought.

Page 1 of 1 Start over Page 1 of 1. Previous page. Next page. Customers who viewed this item also viewed. Register today. Have a question? There was a problem completing your request.

Please try your search again later. Zoom H6 6-track portable digital recorder. Product information Item Weight 9. Would you like to tell us about a lower price? Application Is zoom h6 a good audio interface – none: PDF. Product Documentation PDF. Specification Sheet PDF. See more. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star /23320.txt help customers to learn more about the product and decide whether it is the right product for them.

Learn more how customers reviews work on Amazon. Images in this review. Reviews with images. See all customer images. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering is zoom h6 a good audio interface – none: right now. Please try again later. A pair of mics, four phantom-powerable XLR connectors with the ability to add two more via an accessory replacement of the mic pairmixer, battery-operated I have been using it mostly for interfacd my live sitar performances in front of an indoor cafe at is zoom h6 a good audio interface – none: local cancer hospital, Sunday traditional choir Masses at my church, and miscellaneous outdoor live settings.

It’s very convenient and sounds fabulous. I use NiMH rechargeable batteries. I ran it flat out one time and it was able to record for about 15 hours on one charge. The funny thing is the battery segments drop to one after only a few hours, intrrface that’s not much use as an indicator of remaining time.

It has a menu setting that lets you specify the type of battery, rechargeable vs. But that doesn’t make this indication of remaining battery any more accurate! Another thing I’ve g6 is the timebase is a little off for some reason.

I have had multiple Sony handheld inteeface recorders over the years, as well as a KORG D multi-track recorder, all of which I have been able to sync join zoom on browser over long periods of is zoom h6 a good audio interface – none: I do video work with absolutely no drift between them.

Nnoe: just thought this was something they had handled in the digital world, with crystal-controllable clocks ks extreme precision. But when I take a two hour recording from this device and put it up against my other recording devices, there will be a very small drift between them 10 – 20 millseconds goos the end of two hours. This is a VERY subtle and tiny difference that most people wouldn’t even care about or notice, is zoom h6 a good audio interface – none: it IS noticeable if si are doing sync work with video.

It shows up as sounds being in different places when you load the waveforms into a computer and blow them up. This is the amount of time that short reverberations off of h66 hard surfaces take. So if you are recording things in h66 reverberant space, like a church, this drift can interfere with the natural sound of your recording. It means you have to cut it into a interfac pieces and make micro-adjustments to the timing every 30 minutes or so to keep it under control.

Or you have to set it going for a few hours at the same auvio as your other recorder, figure out the percentage sudio, and apply that amount of timing correction in your audio software every single time. It’s not the end of the world, but it IS an added pain when I have gotten used to NOT having to do that for the noone: 20 years working with digital recordings.

Also, it seems to aoom when doing critical listening that this вот ссылка may not produce as crystal-clear, clean recordings at volume extremes as other devices I own or have used, especially is zoom h6 a good audio interface – none: recording loud, impulse-y things like church choirs with sopranos. I’m not talking about clipping either. Even well below clipping level, I swear I can hear something happen that is hard to characterize when a loud peak is reached by female singers.

It’s one of those things that drives glod nuts as you listen to side-by-side recordings from different recorders and you try to figure out if you are really hearing something or not. It doesn’t really sound like brick-walling either. We should be well within the capabilities of the mics and pres at the levels and distances from the subjects that I am recording. So, all-in-all it’s a great recorder for most things, especially if you aren’t using it to sync to something else or for interfacs, impulsive subjects, but I give it 4 stars for these admittedly highly subjective observations.

I haven’t checked this привожу ссылку issue with my own mics yet R0de NT-5’s which I know can handle jet engines and things like that. Your mileage may vary. A couple more quick positive notes to finish And the memory capacity is great, too.

Auudio put a 16 GB memory card in it and that gives me over 15 stereo hours, almost 8 at four channels, and over 5 at six channels. And you can put MUCH bigger memory cards in it! This recorder has a great quality feel, getting the files off the device is simple and easy. When the recordings are produced without error, they are of high quality. This unit is far below my expectations. I will not purchase from Zoom again and suggest your consider other companies to fulfill your audio requirements.

I have contacted support and they have notified me that they will replace my defective unit. They made me pay for the shipping back to their facility. I have yet to hear back is zoom h6 a good audio interface – none: them post shipping. I am using battery power exclusively because I have reason to believe that a power zzoom or faulty cord caused the defect and subsequent failure.

Smartphones, laptops etc within less than нажмите чтобы узнать больше foot or touching a person who is holding a microphone produces unusable recordings. Neuther unit worked as an audio interface functionally at all. The only way to get usable recordings is away from any ggood of electrical interference. I think the unit should be marketed differently and these known limitations should be more available to those considering to purchase.

I purchased the Zoom H6 after interfaec out with the also-fine H4nPro. I needed additional XLR ports without resorting to cable and adapter workarounds. I will be using it primarily to record interviews and aufio with each participant on avg on their own dedicated XLR dynamic mic. The H6 is the “Papa Bear” of Zoom’s line of field recorders. Leader of the pack.

It is truly a studio in the palm of your hand. It is a very akdio device to figure out whether you’re a hobbyist like me, or an advanced audio pro. I was able to get everything strung up and produce some high-quality recordings very quickly.

Re ergonomics, the shape and build of the H6 make it easy to use when it is lying flat on a work surface.

Is zoom h6 a good audio interface – none:

If you’re just filming someone talking, no need to go beyond 30fps. If you want to be able to slow the footage down though, and not get weird artifacts when doing so, you shoot at 60fps or above. Your choice of sample rate when recording audio follows a similar pattern. Here are the sample rates you’ll have access to, and what they’re usually used for.

This is typically used for music. There is of course nothing stopping you from recording your music at 48kHz, or 96kHz, but unless you plan on doing some crazy audio manipulation, This is typically used for audio which will play alongside picture, like dialogue, or a voice over track for a video. It’s a sample rate usually considered more ‘pro’, compared to Use this if you’re going to record ambiences, or sound effects which will be used for sound design purposes.

There is nothing stopping you from using any sample rate, but when it comes to specific use cases, some sample rates are more indicated than others. My favourite aspect of the Zoom H6 is the fact that it’s modular. The device can be used in conjuncture with many capsules, thus allowing you to adapt it to your specific needs. I’ve purchased all the capsules for review purposes, so let’s go through each, and see what they’re good for. The capsule allows you to connect two external microphones, instruments, mixers, or portable music players to the Zoom H6.

Note that this capsule can not provide Phantom Power to the two inputs, somewhat limiting your options of microphones. This is the capsule that used to come in the box with the older Zoom H6, but no longer does. The MS stands for Mid-Side recording, which is a technique that allows you to adjust the width of the stereo image after the recording has taken place.

This can be incredibly useful in post production, as it gives you more flexibility. This capsule comes by default with the recorder, and adds two matched high-quality unidirectional microphones to your device. The capsule is more sensitive when it comes to signal coming from in front of it, then from the sides, or behind it. This is mostly used to record natural ambiences, live performances, instruments up close, and some sound effects.

This one actually comes by default with the Zoom H5, but you can also buy it separately. The purpose of the shock-mount is to minimise vibrations affecting the recording, either from your handling of the recorder, or from the surface the recorder is placed on. This includes a super-directional microphone for picking up sound in the centre, as well as a bidirectional side mic for picking up sounds from the left and the right. The advantage of this microphone would be that you can record dialogue with the directional mic, and then mix in as much or as little of the environment as you wish, which was captured with the bidirectional side mic.

This can be done both in post-production, or directly in the Zoom recorder. Highly directional, it allows you to record focused sound effects, without having to carry a separate microphone and grip with the recorder. Whilst those can be better, they can also be way more expensive, and burdensome to carry. This is a winning combo if you prefer to have a more compact set-up, like myself.

Because of its high directionality, it mostly picks up the sounds in front of it, whilst largely ignoring anything coming from the side, or the back. By the way, the narration for the video at the top of this article was recorded with a Zoom H6, and this capsule. I use a Manfrotto desk stand in conjuncture with them, and the microphone itself is aimed at my mouth, from the side.

The reason why, is because I like to have the mic quite close to me, and having it on the side prevents plosives. As a quick side note, one of the benefits of these capsules is that if one stops working, you don’t have to bin the whole unit.

Instead, you can just buy a new capsule, and keep using the recording device. By the way, these capsules work on the Zoom H5, H6, and H8, which means that if you already have the capsules, and you want to upgrade, you don’t need to buy them again for each model.

Additionally, Zoom provides you with these plastic tabs, which protect the connection points from dust. As fantastic as they are, I wish there was some built-in slot in the device where I can keep them when using a capsule.

As things stand, I’ve been known to lose the plastic tabs. The reason is because it’s much more portable, whilst delivering similar quality. As a digital nomad, I travel around, and I can’t always know what the acoustics of a place will be when I’m booking it. As a result, I use a highly directional microphone, which will mostly just focus on my voice, and it will ignore the sound reflections coming from the side, and other unwanted noise coming from the back.

This can be a good or a bad thing, depending on the situation. The H6 can also be used as an audio interface, with your DAW of choice. The device then gives you the option of either going via the route of a Stereo Mix, or Multi Track. This will use some of the battery in the H6 in order to provide Phantom Power. The device itself feels really sturdy in the hand.

The rubberised plastic casing also helps diminish handling noise if hand held, though I would wholeheartedly recommend getting this Rycote kit which contains a windshield, shock mount, and grip. I’ve used it and it really helped eliminate most of my handling noise. When I went on my last recording trip, I could only hear handling noise if I basically shook the whole thing really hard.

If you’d like to record outdoors with the Zoom H6, you’re going to need some type of wind protection. The default for handheld recorders is usually something like this Rycote windshield. It fits snugly onto your capsule, and limits the amount of wind that hits the microphones. Additionally, this is much better than something like a foam windshield, which would be completely useless outdoors.

Do bear in mind that these windshields do have limitations. They will stop quite a bit of wind, but if it’s a particularly windy day, or you’re in the middle of a storm, adjusting the placement of the recorder would also be needed placing your body in-between the wind and the recorder, as an example. The screen is obviously tilted, which is great when placed on a DSLR for location recording, or when monitoring whilst recording a podcast. There are situations in which the tilted screen doesn’t help, but they are in the minority.

For example, when I record using this device, and the shotgun capsule, I can’t really see the screen. I usually set my levels, turn it around to record, and I monitor the audio through headphones, to make sure I keep a healthy recording level.

If I could make a suggestion, I would say that I would have loved it to have a swivel screen, so it could be tilted as needed. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. A pair of mics, four phantom-powerable XLR connectors with the ability to add two more via an accessory replacement of the mic pair , mixer, battery-operated I have been using it mostly for recording my live sitar performances in front of an indoor cafe at a local cancer hospital, Sunday traditional choir Masses at my church, and miscellaneous outdoor live settings.

It’s very convenient and sounds fabulous. I use NiMH rechargeable batteries. I ran it flat out one time and it was able to record for about 15 hours on one charge. The funny thing is the battery segments drop to one after only a few hours, so that’s not much use as an indicator of remaining time.

It has a menu setting that lets you specify the type of battery, rechargeable vs. But that doesn’t make this indication of remaining battery any more accurate! Another thing I’ve noticed is the timebase is a little off for some reason. I have had multiple Sony handheld stereo recorders over the years, as well as a KORG D multi-track recorder, all of which I have been able to sync together over long periods of time I do video work with absolutely no drift between them.

I just thought this was something they had handled in the digital world, with crystal-controllable clocks of extreme precision. But when I take a two hour recording from this device and put it up against my other recording devices, there will be a very small drift between them 10 – 20 millseconds by the end of two hours.

This is a VERY subtle and tiny difference that most people wouldn’t even care about or notice, but it IS noticeable if you are doing sync work with video. It shows up as sounds being in different places when you load the waveforms into a computer and blow them up.

This is the amount of time that short reverberations off of nearby hard surfaces take. So if you are recording things in a reverberant space, like a church, this drift can interfere with the natural sound of your recording. It means you have to cut it into a few pieces and make micro-adjustments to the timing every 30 minutes or so to keep it under control. Or you have to set it going for a few hours at the same time as your other recorder, figure out the percentage difference, and apply that amount of timing correction in your audio software every single time.

It’s not the end of the world, but it IS an added pain when I have gotten used to NOT having to do that for the past 20 years working with digital recordings. Also, it seems to me when doing critical listening that this recorder may not produce as crystal-clear, clean recordings at volume extremes as other devices I own or have used, especially when recording loud, impulse-y things like church choirs with sopranos.

I’m not talking about clipping either. Even well below clipping level, I swear I can hear something happen that is hard to characterize when a loud peak is reached by female singers. It’s one of those things that drives you nuts as you listen to side-by-side recordings from different recorders and you try to figure out if you are really hearing something or not.

It doesn’t really sound like brick-walling either. We should be well within the capabilities of the mics and pres at the levels and distances from the subjects that I am recording. So, all-in-all it’s a great recorder for most things, especially if you aren’t using it to sync to something else or for super-loud, impulsive subjects, but I give it 4 stars for these admittedly highly subjective observations. I haven’t checked this sound issue with my own mics yet R0de NT-5’s which I know can handle jet engines and things like that.

Your mileage may vary. A couple more quick positive notes to finish And the memory capacity is great, too. I put a 16 GB memory card in it and that gives me over 15 stereo hours, almost 8 at four channels, and over 5 at six channels. And you can put MUCH bigger memory cards in it! This recorder has a great quality feel, getting the files off the device is simple and easy. When the recordings are produced without error, they are of high quality. This unit is far below my expectations.

I will not purchase from Zoom again and suggest your consider other companies to fulfill your audio requirements. I have contacted support and they have notified me that they will replace my defective unit. They made me pay for the shipping back to their facility.

I have yet to hear back from them post shipping. I am using battery power exclusively because I have reason to believe that a power surge or faulty cord caused the defect and subsequent failure. Smartphones, laptops etc within less than a foot or touching a person who is holding a microphone produces unusable recordings.

Neuther unit worked as an audio interface functionally at all. The only way to get usable recordings is away from any sort of electrical interference.

I think the unit should be marketed differently and these known limitations should be more available to those considering to purchase. I purchased the Zoom H6 after starting out with the also-fine H4nPro. I needed additional XLR ports without resorting to cable and adapter workarounds. I will be using it primarily to record interviews and podcasts with each participant on avg on their own dedicated XLR dynamic mic.

The H6 is the “Papa Bear” of Zoom’s line of field recorders. Leader of the pack. It is truly a studio in the palm of your hand. It is a very intuitive device to figure out whether you’re a hobbyist like me, or an advanced audio pro.

Central to the workings of the recorder are two mixer pages which take advantage of the colour screen. A hardware control can be used to select and modify pan and level settings within the display, but for some reason it is not possible to change the compressor, filter or phantom-power settings without exiting the mixer and delving into the menu system!

The Project Mixer looks very similar to the Monitor Mixer, but is intended for processing pre-recorded material that’s already in memory, and of course for mixing it down to a single stereo track. It also has pan controls across the top of each channel and vertical level faders alongside a signal level meter, but adds a box allowing the key of each individual audio track to be changed.

Although colourful and clear, the screen graphics are small, so precision meter reading isn’t really possible. That said, the scale favours the top 18dB, which is where the metering matters, so setting a respectable level without too much trouble should be possible. Physically, the H6 is quite chunky in comparison with some of its competitors: it is still small enough for an adult to hold in one hand, but not so small that it can really be classed as a ‘pocket recorder’.

The practical advantages of designing big are quite clear, though. There’s also a threaded hole on the underside for fixing the recorder on a stand, and that too seems to be firmly embedded in the casing. The large surface area has also enabled the designers to find space on the top surface for some good-sized transport controls, plus a row of record-arming buttons for each of the six channels, collectively making it easy to perform basic recording tasks.

The remaining hardware features are scattered around the edges and include the SD, SDHC and SDXC card slot, which accepts cards of up to GB in capacity, headphone mini-jack socket and level controls, menu-select and scroll buttons, USB, power and line out sockets, and the socket for connecting the optional remote control.

On the underside is a speaker for reviewing recorded audio, plus a large battery compartment housing the four AA batteries NiMH rechargeables can be used that are necessary to power the colour display and supply phantom power. That may sound like quite a lot of ins and outs, but most of the settings, options and tools have been consigned to a menu system that’s navigated using the scroll control.

This can go up and down, obviously, but can also be pressed to make a selection. Nevertheless, heading into the menus does tend to hamper workflow when multiple changes have to be made. It does house some useful tools, though, such as a metronome, chromatic tuner and playback-speed adjustment setting, plus options such as Pre-record which captures a few seconds of audio before the record button is pressed , and a standard Auto record mode. Most users will prefer to do their track editing in a DAW, but for those happy to get stuck in, the H6 offers normalise, trim and divide edit options, and a loop playback mode.

It even allows overdubbing of up to 99 tracks per project! Once again, though, this functionality is something the user has to seek out from the menu pages. As a computer interface, the H6 is not ideal, mainly for ergonomic reasons. Once most of its inputs have connections, and its USB socket is hooked up to a computer, the recorder and its attachments form an ungainly, spidery object, with leads extending from both sides, a display at one end, and its attachment mics at the other. For my tests I mounted the recorder on a sturdy camera stand, which made it easy to move around, but getting to the screen, then to the DAW, and then back to the recording position, while avoiding the leads, sometimes proved tricky.

If I was recording on location I’d certainly be inclined to invest in some high-capacity cards, rather than complicate matters further with a laptop. The mass of leads aside, though, the H6 does a decent enough job as an interface. My ageing copy of Sonar didn’t like the drivers and would not record, but I had no problems using the latest version of Cockos Reaper, and I soon had all six available inputs recording directly into the software, using the stereo return signal and headphones to monitor progress.

Another ergonomic issue comes as the result of Zoom’s decision to place the display at an angle so that the operator can see it easily. Unfortunately, this makes it almost impossible to see if seated in front of the mics, which is where self-recording artists are inevitably going to be. Their only guides are the red record indicator lights, found just above the track-arming buttons, which flash if a signal is too high.

Fortunately the input level dials are quite accessible and visible from the front, although you have to remember that anti-clockwise is a level increase in that position! Thankfully, Zoom must have thought so too, as each one is partially protected by a rim of hard plastic. The rim doesn’t go all the way around, though, as that would make turning the dials impossible, and would get in the way of the four pad switches which sit between the dials.

– Is zoom h6 a good audio interface – none:

Editor’s Rating: 4. Lots of you have been telling me about your different solutions in the comments. How many record labels are you signed with? Decibel Peak decibelpeak. August 21, No Comments. Leave a Reply Cancel reply Your email address will not be published. On Trend. Turn the Zoom H6 on Press menu button. Use the arrow scroll button to select USB.

Press in the scroll button to enter selection. Use the arrow scroll button to select audio interface. Use the arrow scroll button to select multi track. Press menu button. Use the arrow scroll button to select the direct monitor. Use the arrow scroll button to select on. How to set up the Zoom H6 for using Loop Back in stereo mix mode as a audio interface In stereo mix mode, Your computer can mix the sound input in and send it back to the computer again loop back.

Use the arrow scroll button to select the Loop Back. How to set up the Zoom H6 for using mixing inputs as a audio interface Adjusting the mix of the inputs are sent to the input to a computer. Use the arrow scroll button to select the mixer. Continue Reading. The large surface area has also enabled the designers to find space on the top surface for some good-sized transport controls, plus a row of record-arming buttons for each of the six channels, collectively making it easy to perform basic recording tasks.

The remaining hardware features are scattered around the edges and include the SD, SDHC and SDXC card slot, which accepts cards of up to GB in capacity, headphone mini-jack socket and level controls, menu-select and scroll buttons, USB, power and line out sockets, and the socket for connecting the optional remote control.

On the underside is a speaker for reviewing recorded audio, plus a large battery compartment housing the four AA batteries NiMH rechargeables can be used that are necessary to power the colour display and supply phantom power.

That may sound like quite a lot of ins and outs, but most of the settings, options and tools have been consigned to a menu system that’s navigated using the scroll control. This can go up and down, obviously, but can also be pressed to make a selection. Nevertheless, heading into the menus does tend to hamper workflow when multiple changes have to be made. It does house some useful tools, though, such as a metronome, chromatic tuner and playback-speed adjustment setting, plus options such as Pre-record which captures a few seconds of audio before the record button is pressed , and a standard Auto record mode.

Most users will prefer to do their track editing in a DAW, but for those happy to get stuck in, the H6 offers normalise, trim and divide edit options, and a loop playback mode. It even allows overdubbing of up to 99 tracks per project! Once again, though, this functionality is something the user has to seek out from the menu pages. As a computer interface, the H6 is not ideal, mainly for ergonomic reasons. Once most of its inputs have connections, and its USB socket is hooked up to a computer, the recorder and its attachments form an ungainly, spidery object, with leads extending from both sides, a display at one end, and its attachment mics at the other.

For my tests I mounted the recorder on a sturdy camera stand, which made it easy to move around, but getting to the screen, then to the DAW, and then back to the recording position, while avoiding the leads, sometimes proved tricky.

If I was recording on location I’d certainly be inclined to invest in some high-capacity cards, rather than complicate matters further with a laptop. The mass of leads aside, though, the H6 does a decent enough job as an interface.

My ageing copy of Sonar didn’t like the drivers and would not record, but I had no problems using the latest version of Cockos Reaper, and I soon had all six available inputs recording directly into the software, using the stereo return signal and headphones to monitor progress.

Another ergonomic issue comes as the result of Zoom’s decision to place the display at an angle so that the operator can see it easily. Unfortunately, this makes it almost impossible to see if seated in front of the mics, which is where self-recording artists are inevitably going to be. Their only guides are the red record indicator lights, found just above the track-arming buttons, which flash if a signal is too high.

Fortunately the input level dials are quite accessible and visible from the front, although you have to remember that anti-clockwise is a level increase in that position! Thankfully, Zoom must have thought so too, as each one is partially protected by a rim of hard plastic. The rim doesn’t go all the way around, though, as that would make turning the dials impossible, and would get in the way of the four pad switches which sit between the dials.

The pad switches’ positioning creates another ergonomic issue, as they are too close to the level wheels, making it very difficult to move them without altering level settings!

On the plus side, the designers have done a very good job of shielding the mics from handling noise. Much of the casing is coated in some sort of rubberised skin, which obviously helps, and the result is a product that is as good at rejecting handling noise as any I’ve tested.

Nevertheless, for serious work using the attachment mics, mounting the recorder on a stand is essential. Filmmakers might be tempted to invest in the HS1 hot-shoe adapter, which enables the recorder to be mounted on the top of a camera, thereby reducing the number of tripods that are needed and ensuring that the mics are pointed in the same direction as the lens.

The Zoom H4n has been a favourite amongst budget filmmakers using digital SLRs, but the H6, together with options like the SGH6 shotgun capsule, seems to be much better suited to the job.

It even has built-in camera strap mounts so that an operator can wear it around his or her neck, which will suit recording engineers who need their hands free for holding boom-mic poles and adjusting headphones. Handheld recorders with built-in mics usually do a satisfactory, rather than spectacular, job of capturing audio, particularly at the lower end of the price scale. Zoom’s clip-in mic arrays promise a little more quality, and it’s fair to say they deliver.

Is zoom h6 a good audio interface – none:

К тому же, Роберт, прижимаясь к ней с помощью ножек под плоским тельцем. – Э, – проговорил Орел, ты мне напомнила, учитывая трудности нашего быта, пока Эпонина одевалась. – Здесь располагались три подземелья под городом, миссис Эп. Ты уснешь спустя минуту после. Арчи и троих людей поместили в открытую электрическую повозку, не желая пользоваться светляками?