Zoom H6 Handy Recorder + 16GB Card + Accessory Pack
|Price:||£334.00 & FREE Delivery in the UK. Delivery Details|
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Here at Zoom we've been building innovative, great-sounding products for the past thirty years. But with the revolutionary H6-the most versatile portable recorder ever-the bar is raised further still. Four interchangeable input capsules-X/Y, MS, Shotgun, and Dual XLR/TRS Combo-make the H6 the ultimate chameleon of the audio world, and its advanced preamps make it the best-sounding one too. Whatever your application-live recording, professional film/video work, or broadcast ENG (electronic news gathering), etc.-the H6 can handle it with ease.
From the manufacturer
In the Box
The H6 comes with everything you need to create amazing audio.
- XYH-6 X/Y mic capsule
- MSH-6 MS mic capsule
- SD card (2GB)
- AA size (LR6) battery x 4
- Cubase LE Software
- USB Cable
- Operation manual
- Accessory pack
The Zoom H6 Handy Recorder
Change the Way You Think About Recording… Forever
Zoom's flagship H6 is the most advanced portable recorder ever. It utilizes a system of interchangeable input capsules that can be swapped out as easily as the lenses of a camera and comes with both X/Y and Mid-Side stereo mics.
Great for live recording as well as studio-quality music production, the H6 offers six tracks of simultaneous recording and four mic/line inputs.
- Uses a system of interchangeable input capsules
- Includes detachable stereo X/Y and Mid-Side capsules
- Six tracks of simultaneous recording
- Records directly to SD, SDHC, and SDXC cards up to 128GB
- Up to 24-bit/96kHz audio in BWF-compliant WAV or a variety of MP3 formats
- Four mic/line inputs with XLR/TRS combo connectors, each with dedicated volume control, selectable phantom power, and -20dB pad
- Requires just four standard AA alkaline or NiMH rechargeable batteries (over 20 hours of operation with alkaline batteries)
How Do You Want To Record Today?
The H6 is the most versatile portable recorder ever, which means it can handle virtually any kind of recording job, from live concert recording to location videography, from electronic newsgathering to music production.
The XYH-6 allows you to do stereo X/Y recording and provides dual large diaphragm mic elements with adjustable width—choose 90 degrees for a more focused sound or 120 degrees for a wider stereo image. It's great for recording classical music and for capturing sound effects in the field.
Step up to a whole new level of precision sound-shaping with the MSH-6, which contains a forward-facing, unidirectional mic (the “Mid”) and a side-facing, bi-directional mic (the “Side”). In conjunction with the H6's onboard MS decoder, it allows you to capture a fully mono-compatible stereo image that can actually be adjusted after recording—ideal for film, video, and television projects.
Optional Capsules (Not Included)
SGH-6 Shotgun mic capsule
Get all the pickup with half the length by connecting an SGH-6, which adds a professional-quality, highly directional shotgun microphone to your H6. Three elements, combined with digital signal processing, give you the highly directional pickup power of a conventional shotgun in a unit only half the size, making it optimum for recording dialogue and narration with no intrusive mic in the scene.
XYH-5 shockmounted X/Y mic capsule
The advanced XYH-5 provides dual matched unidirectional condenser microphones housed in an advanced shockmount to minimize vibration and handling noise—ideal for location videography and broadcasting/podcasting. In addition, the XYH-5 is designed to handle extremely loud sounds, making it the perfect choice for capturing the sound of live rock concerts and for electronic newsgathering (ENG) applications.
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Top customer reviews
Not only does the Zoom H6 fulfill this need, but I think it may have completely replaced my old kit.
First of all, the reason I bought it - it works brilliantly as a stand alone recorder, with stereo microphones integrated, and 4 XLR/TRS combined sockets for the option of 4 additional microphones. I recently attended a choral workshop, and set it up at the side of the hall - it picked up the whole room brilliantly. One of the optional features is a "backup recording". When making a recording, using this option makes a duplicate recording, but at -12dB. This means that if you have set the gain too high, and have peaking, you have a copy of the recording made at a lower volume, which you can probably bet on being fine. This has already gotten me out of one situation, and I expect it will be just as useful in the future.
The second mode in which it can be used is as a digital audio interface. Connected by USB to a computer, running audio software, it gives the computer the full 6 channels of audio (stereo microphone, and 4 XLR/TRS), allowing you to do more sophisticated recording and multiple takes [See Note 1, below]. The literature mentions it being compatible with Windows PC and Mac, and it also has an Ipad mode. No mention of Android, but I found that it worked with Android fine - note that you will need a USB/OTG (On The Go) adapter to do this.
The recorder, as bought, comes with two different integrated microphone modules - the XY, which I have been using, and a Mid-Side module. These are easy to attach and detach. Available separately is a shotgun microphone module, and a module that replaces the integrated microphone with another 2 XLR/TRS sockets.
This little recorder is superb, and a lot of fun.
Note 1: I'll mention this here, as I have seen some reviewers complain of this. As a stand-alone recorder, the H6 will do multiple takes, but each track recorded (of the 6 tracks available) needs to be recorded on its own channel. i.e. if you start with a stereo recording from the intergrated microphones, which will record on tracks "L" and "R", to then re-record on track 1, you will need a separate microphone plugged into XLR/TRS socket 1. There is no internal re-routing of signal available. I understand the complaint, but practically, I have had no difficulty with it. When using it stand-alone, I am usually recording something live, so would not need multiple takes; but simply plugging into a tablet (or even a decent-spec Android phone) gives you full multitrack ability, without limits on number of tracks. So be aware of this limitation, but don't let it put you off.
So, have I made the right choice? Probably yes, for the amount I paid out – but there are a couple of negative points with the H6 which are aggravating, to say the least. One of the drawbacks is the absence of auto-level recording. I never had that facility with tape recording and learned the hard way to try and anticipate high level outbursts, getting caught out on several occasions, especially with railway subjects. The minidisc auto-level setting therefore paid dividends for steam train unpredictability, although I avoided using it for music as it severely compromised dynamic realism. The H6 has two methods of coping with potential over modulation – a small but effective range of compression and limitation settings, and a back-up recording dedicated to the integrated microphone input (on Tracks LR) with a -12dB pad which can be mixed and matched with the prime tracks during post-production in the event of accidental overload. How well these features can cope with the sort of surprise peak events likely to be faced in the field is difficult to assess, as my findings aren’t yet conclusive in that area. A modicum of compression is okay in effects recordings as long as its use isn’t obvious to the listener; for some styles of music of course it can actually promote attractiveness.
Auto-level would certainly have been a useful option to overcome the other big (and more serious) no-no, namely the level adjustment facility on the integrated microphone capsules feeding Tracks LR. The ganged dial (neat idea) is fitted directly onto the microphone assembly itself so that riding levels is virtually impossible to achieve without transmitting finger vibration onto the recording (totally inept). Using the remote control won’t help either, as the Zoom designers in their lack of wisdom do not appear to allow it to adjust recording levels on Tracks LR, only headphone monitoring and playback volume. Why, for goodness sake? In fact the whole H6 body succumbs to handling noise at the slightest twitch, so using a tripod or stand supported by a shock absorber is pretty much essential, unless only external microphones (which I don’t possess any longer) are employed. The H6 is definitely “handy”, but not sensibly so when the integrated microphones are used. I’m looking into some sort of modification to overcome the fingering issue. Apparently the H5 microphone capsule is described as shock-proof, but I have no idea of its effectiveness, and there seems little point in splashing out on a duplicate X/Y mic capsule just to find out.
However, I admit that the actual audio quality achieved by the interchangeable H6 X/Y and MS microphone capsules probably exceeds what I have ever used in the past, being exceptionally clear throughout a very wide range of frequencies (though seems not to register bat squeaks!), and offering clean stereo imagery. I have not had previous experience personally with the MS format, but my experiments with the H6 version suggest it will be very beneficial for controlling stereo spread, and is definitely better than the X/Y format for an even coverage of centrally situated close up subjects; I shall probably keep it permanently set to “Raw” rather than risk getting the balance wrong. As a luxury I have treated myself to Zoom’s compatible MS gun mic (available separately) which is amazing at isolating point-source sounds like a singing bird whilst retaining a pleasant amount of stereo ambience in the background. Furthermore, unlike other users I have not yet experienced excessive amplification noise at the highest level setting with any of these microphones.
I may be unable to use all 6 input channels simultaneously until I can afford enough decent microphones to fill them, but the potential for recording a dawn chorus or thunderstorm in full multi-track surround would be there, perhaps incorporating height and depth too!
I chose to include in the H6 package the dedicated accessory kit (at a good saving). At least the mains adaptor is correctly configured for plugging into standard British 13-amp sockets, and the remote control has its uses as well as the limitations described above, but its flimsy cable is about 5mm too short to wind fully back onto the core; hopefully with use it will stretch sufficiently if it doesn’t break first. The fluffy wind gag is more efficient than the standard foam version, but performs less well than I hoped, as only a light breeze creates quite intrusive wind blasting when recording levels are set high; it works best when totally enclosing the capsule assembly with the drawstring pulled tight, which means that the level control dial is inaccessible, so I’ve designed my own windshield to allow full access to the controls whilst reducing wind blasts almost to insignificance.
The H6 sports several interesting refinements, mostly aimed at the musical world, and includes editing and mixing functions. The package also bundles free access to what appears to be some fairly basic Wavelab and Cubase software. Full marks for very economical power consumption; however the display screen – even at its brightest setting after a brief initial power burst, is virtually unreadable in full daylight.
Altogether, a host of very favourable points are spoilt by inopportune irritations that need to be tolerated by the user, especially if restricted to using just the integrated microphone capsules. On balance, for my expected needs I think the H6 is just about deserving of 4 stars, but could so easily have scored top marks if only a little more thoughtfulness had been applied to the practicality of its design.
The Zoom H6 is quite small so it's easy to slip into my camera bag. I was using a Rode stereo mic straight into the camera jack prior to using this but it was super 'noisy' which was a real annoying to edit out. The Zoom bypass's the need to rely on the camera's poor preamps which cause the noisy hiss. I would definitely recommend a Zoom H6. I have just purchased the SGH-6 shotgun mic as well for a more directional sound for interviews/pieces to camera.
I have also used with the Sennheiser AVX ME2 plug and play radio mic set which worked really well. The receiver plugs straight into one of the four XLR inputs which feels robust and so much more reliable than the flimsy 3/4 jack socket on camera. You can also use the zoom's phantom power with the Sennheiser AVX mic which will automatically power off when you stop recording.
I am very happy with the Zoom H6. It feels great to have confidence in a piece of kit that produces such great sound.
I was in two minds for a few months whether or not to purchase this recorder but wish I'd got it sooner.
Most recent customer reviews
Only had mine for a couple of...Read more
Boots up really quick, Physical dials for getting just the right levels.Read more