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Gear / Technical Help => Ask The Tapers => Topic started by: Elguapo511 on October 24, 2019, 06:20:58 PM
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It seems that H6 with the extra XLR capsule attachment is an okay option if I want 6 xlr inputs.
I want to Record loud concerts in small clubs, and get a sBD feed. The zoom h6 would allow me 4 mics on stage and a stereo from the sbd.
The zoom doesn't look solid, but it has the right features. And the price is right.
anything particularly wrong with the zoom h6. Or is there a better option. would the MixPre 6 be the ultimate solution, or is that the ocean.
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I've used an H6. It's a decent unit, but I strongly dislike the trim pots which are too easy to move.
If you're going for a solid 6-channel recorder, I think the best value right now is the Zoom F6. I love mine so far. It is double the price of the H6, but it is in a different league in performance and features. A SD MixpPre-6 II is very similar in features, but $200 more and only 4 balanced inputs.
The only thing to watch out for in your application is that the balanced inputs are XLR only; not XLR/TRS combo jacks.
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Tascam DR-680MKII going for $400 new now. CH 5/6 are not XLR, but they are balanced TRS 1/4" and can do phantom if needed. Not all that friendly for adjusting individual levels on the the fly, though.
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I would second the dr680I/II can get them on the cheap
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DR680_Mk2 is very hard to beat for value right now. Does everything you want. Love mine, although it's now a second rig recorder.
Level adjustment does work a bit differently than other recorders so I understand Jeff's comment, however I find the 680 makes it easier for me to rapidly adjust levels the way I want them than any other multi-channel recorder I've used extensively. It allows me to rapidly adjust the level of individual channels, of pairs, or of large multi-channel groups, quickly and easily without going into menus, and does not have a problem with accidental mis-adjustment. I wish level adjustment and channel ganging on my other multi-channel recorders worked the same way.
The new Zoom F6 has been much anticipated and is just now getting into the hands of users. Voltronic is one of the first here to use it.
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Curious if anyone has advice about decibel levels for taping live sets. it is pretty hard to see them on the small screen. any tips are appreciated!
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I have the H6. Basically retired it, really dislike the levels knob arrangement and monitoring is very clunky.
If you only need six tracks, then the tascam 680 is a much better option than the H6. The Zoom F8 is a lot like an improved 680 if you wanted to go up a level but still very affordable.
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i just bought the h6 actually and i think it will suit my needs just fine. i'm a musician and mostly want it to record my friends/peers local sets for personal enjoyment.
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Like Mr. Hose, I have the H6, had high hopes for it and it is junk. The level adjustments are really clunky and have to be taped down securely and I think the A-D function is a bit noisy, like hiss. I hate the unit and would only use if there was no other option.
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Like Mr. Hose, I have the H6, had high hopes for it and it is junk. The level adjustments are really clunky and have to be taped down securely and I think the A-D function is a bit noisy, like hiss. I hate the unit and would only use if there was no other option.
it's been a nice addition to my rig when I connect it with my real mics (AKGs) but I thought the Xy capsule included was total crap, sounded awful
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I pulled the XY device off, and used it as a line in. Very clunky unit. In my opinion, two or three DR2ds are smaller and easier to connect via stealth, which is what I do.
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FWIW, I just picked up the zoom F6 used for450. After a couple weekends with it I like it a lot. Hopefully it stays that way No 1/4 inputs but I knew that going into it.
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I pulled the XY device off, and used it as a line in. Very clunky unit. In my opinion, two or three DR2ds are smaller and easier to connect via stealth, which is what I do.
The challenge with simultaneous DR2ds is the lack of shared clock and transport controls. No way getting around the clock issue without surgery beyond my abilities, but you can try positioning them so that a single IR remote will start and stop them with a single button push, but its finicky and doesn't always work. I've run two in that stealth arrangement a few times but its a PITA. I thought about rigging up some sort of IR repeater with a single IR input linked to individual IR LEDs - one feeding each DR2d.. or maybe even a simple fiber-optic light-pipe bundle routing IR output from the remote to The IR sensor of each recorder individually, but never went further with that than the thought balloon.
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I'm not familiar with the F6, but if it is anything like its big brother the F8, the unbalanced 1/4" inputs are in the center of the XLR inputs.
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I pulled the XY device off, and used it as a line in. Very clunky unit. In my opinion, two or three DR2ds are smaller and easier to connect via stealth, which is what I do.
The challenge with simultaneous DR2ds is the lack of shared clock and transport controls. No way getting around the clock issue without surgery beyond my abilities, but you can try positioning them so that a single IR remote will start and stop them with a single button push, but its finicky and doesn't always work. I've run two in that stealth arrangement a few times but its a PITA. I thought about rigging up some sort of IR repeater with a single IR input linked to individual IR LEDs - one feeding each DR2d.. or maybe even a simple fiber-optic light-pipe bundle routing IR output from the remote to The IR sensor of each recorder individually, but never went further with that than the thought balloon.
Eh, Time alignment is no big deal, takes about 30 minutes per recorder using Adobe CC2017, although Mr. Hose will tell you that Adobe3.0 is more accurate in stretching. I find Adobe 3.0 to be really wierd in that in the interface it does not display time markers, but it does in the wave form. I will say that I learned to time align from my sensei Mr. Hose and have about 500-1000 hours of experience. Just place markers every 10-15 minutes, figure out the percentage difference (or use a spread sheet with formulas) and do the stretching to at least 5 decimal points. I can't steath anything bigger than a DR2d
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I can't steath anything bigger than a DR2d
Same boat here, which is why I tried it. If you start both recorders together before heading in its more doable. But even with just two its unwieldy with lots of wires to manage. Was to much of a PITA for me to peruse regularly given all that front end burden at the show, irrespective of the additional need to do alignment and stretching afterward which just the assumed cost of working this way. YMMV
I'm not familiar with the F6, but if it is anything like its big brother the F8, the unbalanced 1/4" inputs are in the center of the XLR inputs.
Its not. No combo jack inputs on the F6, its XLR input only.
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I had high hopes that the new Tascam X8 would be an upgraded version of the H6. Same channels, smaller, cell phone control, etc. But they f'ed up the design and its really a four track recorder with two detachable mics. Can't just do 6 channels direct in. Boo.
I've had the same thoughts about doing the IR in setting the sync markers on the Tascam 2D. When I experimented with it, there were minor differences between the decks. So it could be within a 100 sample difference in either direction. Basically useless for time alignment...I need it down to the sample.
If Tascam is able to fix the limitations of the X8 in firmware updates (not that hopeful), it would be an excellent upgrade to the H6. As it is, the H6 is still a nice size for the number of channels. I did a bunch of shows with the six channels on the H6 and then using a Tascam 2D for two additional stereo inputs. I like the potential of the Zoom H8 for a potential 10 tracks, but the physical design on that one is nutso.
And yes, Adobe Audition 3's time stretching algorithm is more accurate the the later versions of Audition.