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Gear / Technical Help => Recording Gear => Topic started by: Niels on March 21, 2025, 12:18:40 PM
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The H5 has been upgraded with 32bf, better pre-amps (F-series) and interesting 19.4mm diameter 140 db SPL microphones.
https://zoomcorp.com/en/us/handheld-recorders/handheld-recorders/h5studio/
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The H5 has been upgraded with 32bf, better pre-amps (F-series) ...
I thought this meant it would be a cheap, lighter weight F6 replacement. However, it looks like you get 2 XLR/48v + 2 external via a headphone jack with PiP + a stereo mix or the X/Y mics onboard (no thanks).
Cool device, but for me, it's just a worse, clunkier F3 (which also has good pre's, 32bf, 2 XLR/48v).
I guess if you want 2 extra channels than the F3 can handle and are OK with PiP or an external pre then this could work.
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^ It looks like their is a module to replace the internal mics with an additional pair of XLRs? Cables coming out in three directions, though. Zoom is not too good at the elegant design...
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I'm impressed. Is the "Studio" name a new line or am I being dumb (again)? Frankly I would buy one of these in a heartbeat except I have to admit I would have no use for it unless I got rid of most of the content of my cupboard... I do wish that they would include a USB-C input intended for USB mics in these devices, though. I can't believe that would be difficult. Then you'd have a really comprehensive range of inputs. I note that you can get a wireless mic set for this, and that might be popular depending on the quality and size and all that stuff.
$350 seems good value? (B&H).
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It seems that to connect a 3.5mm mic or the like, you have to pay another $110 for a clip on which replaces the mics. I think that's not quite made clear in the advertising, which to me implies that the input is there at the outset.
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Peter, I think the 3.5mm input jack is located on right side of the included microphone module.
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Yup - it seems to be unlabelled but that's what it must be. And presumably when you insert a connector it cuts off the internal mics. Anyway, no extra expense required for that basic feature.
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^ It looks like their is a module to replace the internal mics with an additional pair of XLRs?
I don't know if the XLR module also uses F series preamps?
Where would the preamps be located for the modules - in the recorder or the module?
This XLR module is also compatible with the H6 essentials which to my knowledge doesn't have F series preamps, so if the XLR module has its own preamps, then I wouldn't expect the currently available module to have F preamps.
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The publicity is careful to say that the F-Series preamps feature on the device's inputs, with dual ADCs, and the accompanying picture shows the XLR inputs with the mic part not visible. So it seems likely that the attachments for the top have appropriate preamps and quite possibly single ADCs going by current trends. "The H5studio’s 3.0 capsule system* supports 32-bit float and gives creators more options to use the right mic for their recording." No mention of preamp quality nor number of ADCs. However, as the claim for the supplied mics is that they have a max SPL of 140dB, a minimum of 17dB SPL, and a dynamic range of 123dB, they shouldn't be any kind of disaster. They state that the original H5 had a dynamic range of 65dB, and that the H6essential offers 115dB.
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Zoom have done something which I don't think they normally do, namely upload to YouTube a video which just features different audio clips using the H5studio. I haven't actually watched it yet but I have posted a comment asking them to clarify whether the mike modules do benefit from dual ADC F series processing or not.
https://youtu.be/_odOe9P5o2E?si=g8s0YMiocy489KMt
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Thanks for posting this question to Zoom. Kind of an interesting recorder and in the typical zoom fashion of being black and blue.
I'm surprised to see four big knobs on it, but I also like the ability to adjust levels independently. I wonder if the color screen can be dimmed/turned off after X period of time.
Glad to see the f style preamps are being used in new products; hopefully this is the first of many released this year.
Linking to your field recording post as well for more conversation:
https://old.reddit.com/r/fieldrecording/comments/1jh4fbt/zoom_h5studio_announced/
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From Zoom, in reply to my question on a popular video sharing platform -
"The H5studio X/Y capsule uses a dual AD converter system and its own unique preamp circuitry to achieve its 123 dB dynamic range."
So, the capsule unit is dual ADC, like the main XLR inputs, which their publicity left unclear. As for the preamp for the capsules, I can imagine that they would use a preamp configured to get the most out of these particular capsules, which therefore might not be describable as "F series". Fair enough.
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As for the preamp for the capsules, I can imagine that they would use a preamp configured to get the most out of these particular capsules, which therefore might not be describable as "F series". Fair enough.
This would be of some relevance for those who plans to use the 3.5mm Jack input on the mic module for their own mics.
The 3.5mm input disables the Zoom capsules and I would therefore assume that one’s own 3.5mm terminated mics wouldn’t use “F - series” pre-amps, but those intended for the Zoom capsules.
In order to utilize the F-series pre-amps in this scenario, one would have to get XLR to 3.5mm adapters.
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In order to utilize the F-series pre-amps in this scenario, one would have to get XLR to 3.5mm adapters.
Which doesn't have to be the zoom product. It could be a PFA, like this one from Naiant: https://reverb.com/item/57144824-naiant-pfa-inline-phantom-power-adaptor-for-stereo-plug-in-power-microphone
Unless that's what you had in mind...
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I can't find any specs on what voltage the plug-in power provides. Will it power DPA 4060s (5V say)?
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I can't find any specs on what voltage the plug-in power provides. Will it power DPA 4060s (5V say)?
Unfortunately not with the included XYH-5s module. The specs states 2.5V. But the 3.5mm jack wouldn’t utilize the F series preamps anyway.
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Which doesn't have to be the zoom product. It could be a PFA, like this one from Naiant: https://reverb.com/item/57144824-naiant-pfa-inline-phantom-power-adaptor-for-stereo-plug-in-power-microphone
Unless that's what you had in mind...
Exactly. I was thinking about the similar Lom Audio product: https://store.lom.audio/products/usi-phantom-adapter?variant=4542168629280
or RØDE converters if one doesn't need/want the two channels combined into one stereo jack: https://rode.com/en/accessories/adaptors-cables/vxlr-plus
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Which doesn't have to be the zoom product. It could be a PFA, like this one from Naiant: https://reverb.com/item/57144824-naiant-pfa-inline-phantom-power-adaptor-for-stereo-plug-in-power-microphone
Unless that's what you had in mind...
Exactly. I was thinking about the similar Lom Audio product: https://store.lom.audio/products/usi-phantom-adapter?variant=4542168629280
or RØDE converters if one doesn't need/want the two channels combined into one stereo jack: https://rode.com/en/accessories/adaptors-cables/vxlr-plus
The Rode is listed as 4V, maybe not enought for DPAs? The Lom seems not to be available anymore at this link.
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The Rode is listed as 4V, maybe not enought for DPAs? The Lom seems not to be available anymore at this link.
Hi Jeff
I wasn’t responding to you regarding the adapters, but Rastasean.
However, LOM products are never available. You have to sign up for their emails and buy during the regular small opening sale windows they announce.
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If you hit the "specs" tab, you see plug in power at 2.5 volts. Typical but for most 3.5mm mics, a battery box or preamp is best.
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For completeness, B&H posted this reply to me on a comment on YouTube. It doesn't really say anything more than Zoom themselves said in a comment that I posted earlier but at least a consistent story is being told!
"We have confirmed with Zoom that the microphone modules have a different preamp architecture than the F-Series preamps, but they have confirmed that the modules will still have a dual-AD converter."
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Which doesn't have to be the zoom product. It could be a PFA, like this one from Naiant: https://reverb.com/item/57144824-naiant-pfa-inline-phantom-power-adaptor-for-stereo-plug-in-power-microphone
Unless that's what you had in mind...
Exactly. I was thinking about the similar Lom Audio product: https://store.lom.audio/products/usi-phantom-adapter?variant=4542168629280
or RØDE converters if one doesn't need/want the two channels combined into one stereo jack: https://rode.com/en/accessories/adaptors-cables/vxlr-plus
The Rode is listed as 4V, maybe not enought for DPAs? The Lom seems not to be available anymore at this link.
This one provides 9V PIP: https://immersivesoundscapes.com/accessories/Adapter-for-PIP-mics-to-work-on-XLR-48V-Recorder-p492004466
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This one provides 9V PIP: https://immersivesoundscapes.com/accessories/Adapter-for-PIP-mics-to-work-on-XLR-48V-Recorder-p492004466
And if you go for the low profile version, like the one I purchased, it’s very neat.
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I ordered a set of the low profile ones as well.
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Oh damn, I thought this thing wasn't going to out for a couple weeks. Looks like B&H has it in now. Anyone order one yet? https://www.bhphotovideo.com/c/product/1877793-REG/zoom_zh5studio_h5studio_4_track_handy_recorder.html
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That looks like the original launch price still, but I suspect that it, and other gear, is going to get significantly more expensive soon - maybe it's a grab one quick thing!
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Oh damn, I thought this thing wasn't going to out for a couple weeks. Looks like B&H has it in now. Anyone order one yet? https://www.bhphotovideo.com/c/product/1877793-REG/zoom_zh5studio_h5studio_4_track_handy_recorder.html
Not I. Just bringing attention that shipping will be delayed:
PASSOVER HOLIDAY HOURS - B&H will be closed from Friday, April 11 through Sunday, April 20
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Hello,
I am hesitating between waiting for the new H5 Studio or go with the purchase of an F3 + a matched couple of Se Electronics Se8.
This would be used for recording my progressing metal band rehearsals and concerts (when it is not possible to record the board mix).
Do you think the Se8 will offer a significant improvement over the new H5 mics? I know it is difficult to say as the H5 Studio is not available yet...
Thanks
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^ Personally, I would go for the Se8 pair (although I have never heard them) and the F3. The mics have pretty decent specs and the flexibility of externals is a huge plus, in my opinion. Maybe consider a four channel recorder, though, as mics + board is a great option.
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I am hesitating between waiting for the new H5 Studio or go with the purchase of an F3 + a matched couple of Se Electronics Se8.
The H5studio essentially gives you an F3 and a set of interesting microphones for $50 more than the F3.
If the mics disappoints you can add the externals later.
You also get the flexibility of the module system - ie. you can replace the mics with the XLR module to get 4 XLR inputs.
If you need the deck for stealth recording too, the H5studio may appear less attactive.
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Hopefully before long we will get some independent reviews of the H5studio - until then, it's a matter of depending on the publicity...
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Hello,
I am hesitating between waiting for the new H5 Studio or go with the purchase of an F3 + a matched couple of Se Electronics Se8.
This would be used for recording my progressing metal band rehearsals and concerts (when it is not possible to record the board mix).
Do you think the Se8 will offer a significant improvement over the new H5 mics? I know it is difficult to say as the H5 Studio is not available yet...
Thanks
In terms of positioning, compared to mics attached to the recorder? YES.
I've run into some Se mics on the job. They seem to work fine, and the productions which use them could probably afford any similar mic, but for whatever reason, chose those...
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I've just noticed that an independent review (it seems) came out a couple of weeks ago, in two parts -
Title -
My first impressions after trying out the ZOOM H5studio: "Wow, this is studio-class sound!"
Link -
https://youtu.be/FEs7L9L2CRU?si=PWYLKd_LeynfWAXg
Title -
ZOOM H5studio Sound Test & Feedback
Link -
https://youtu.be/cm5Wysm9tmw?si=eA0kKt4VjbxcaQcC
Here's my predication - this device will sell like hot cakes. But not to pocket recorder people, 'cos it isn't small. I've only listened to the samples on a laptop with no headphones but I can tell that the stereo imaging is very good. The reviewer seems happy with self noise but unhappy with handling noise. However, my take on handling noise is that every hand held recorder suffers from it to some degree, and the answer is to learn how to grip the device in such a way as you won't need to change your grip while recording. Any mic suspension within the capsule housing is going to be pretty minute and there is no way it could be seriously effective.
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Full manual -
https://zoomcorp.com/media/documents/E_H5studio.pdf
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It sounds like the mics are extremely sensitive to air movements - even when he speaks at a distance in the studio, and especially when he walks around outside with the dead cat mounted. I don't think it can all be contributed to handling noise.
Could that be a consequence of the large diameter capsules?
I would imagine it is necessary to have very good wind protection if used outside.
From these videos I personally think the included mics would be a challenge to use for field recording.
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As I recall it he said that the wind muff was the wrong size, from the original H5 recorder. Maybe that's got something to do with it. But I suspect that the better the mic, the better the wind protection required, as a general principle.
I note from the manual that the device is fully MS stereo capable - can record and MS pair as L/R or as 'raw' MS.
GAIN knobs will affect the monitored sound and the recording data. So they are real gain knobs.
There seems to be a limiter for input and for output too (eg when feeding a camera). And a third one for the mix of the inputs.
Files are automatically saved at regular intervals during recording. If the power is interrupted or another
problem occurs during recording, an affected file can be restored to normal by playing it with the
H5studio.
Playback can be normalized on the fly.
The alternative modules that fit on the top support 32 bit float.
In the circuit diagrams, there are four inputs each with dual ADCs. Good!
The supplied mics can handle 140dB SPL. That's... loud. XLR connectors are measured at -127 dBu EIN. That's... quiet.
The manual is slightly enigmatic when it comes to input settings for 32 bit float. For 24/16 bit, it says to ensure that levels peak at about -12dB but it makes no recommendation for setting levels for 32 bit float. Can it really handle 140dB SPL with the gain set to maximum? I rather doubt it...
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It has been now pointed out to me what I should have spotted a mile off - in the circuit diagram the inputs are shown feeding straight into blocks marked "Dual ADC", and everything beyond that is happening in the digital realm, 'gain' included. So when recording in 24 bit, it's possible to digitally raise the levels above what 24 bit can store, leading to clipping. In 32 bit float, the digital gain will not raise the level above the 1500dB (or whatever the figure is) that 32 bit float can capture. All in all, it makes the 16 and 24 bit options a bit pointless, unless immediate output in that format is required. Unless I'm misunderstanding.
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How were you able to determine the quality of the stereo imaging using laptop speakers? That's like determining a porsche 911 gt3's performance in stop and go rush hour traffic.
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Put it this way - if the stereo image is very obvious on a little laptop (chromebook actually!) in terms of hearing very clearly where the passing sound sources were placed, then on a proper replay setup I would be confident that the image would be even better. When I get back home I will test this belief with the quite reasonable system I have there. And hopefully I will not be disappointed.
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The manual is slightly enigmatic when it comes to input settings for 32 bit float. For 24/16 bit, it says to ensure that levels peak at about -12dB but it makes no recommendation for setting levels for 32 bit float. Can it really handle 140dB SPL with the gain set to maximum? I rather doubt it...
I think that, in most 32-bit float implementations, the user can't really set gain. Gain (or no gain) is applied at each ADC. If they designed the recorder correctly, the no gain ADC would have the voltage from 140 dBSPL be it's maximum input level. From the dBSPL and sensitivity specs, it looks like that would be right around the 4 dBU maximum input level they specify for the XLR inputs (by eyeball, as I didn't actually do the math).
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Indeed, for 32 bit float, analog gain setting is rare. What we've got here is simply digital gain, but not only applied to the 32 bit float output, it's applied to the 24 bit output which might not be able to handle it. Hence the need to control levels to say -12 dB when using 24 bit, but no need to worry about that for 32 bit float. Crank it up as much as you like and normalise later.
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Concur with the above two responses. Setting gain levels for 32-bit float seems to be a contradiction in terms. As odd as it may seem, in effect you set the gain levels in post.
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Concur with the above two responses. Setting gain levels for 32-bit float seems to be a contradiction in terms. As odd as it may seem, in effect you set the gain levels in post.
But - the device has three different limiters for input output and mix and presumably they are going to be affected by the gains set. So there is a kind of point to the gain knobs. Though maybe you could simply apply VST limiters in post...
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https://youtu.be/aLAlbjFzmCU?si=3WiF47wRR5AL5NDY
New review by "Dark Corner Studios", with noise comparisons to the original H5. (Oh dear...)
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I think the limiter(s) are disabled in 32-bit mode. They are only useful in 24-bit.
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I would concur with the above. Whatever those knobs are for, it would be senseless for them to be there for somehow adjusting gain for 32-bit float recording. In my humble opinion.
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The handling noise on the outside video isn't good, but we don't know if he was holding it or had it mounted to something that was transferring the noise to the recording.
I guess Zoom doesn't include a windscreen with this recorder? Seems like it would make recording outdoors or possibly even in a room with a fan kind of difficult.
I had not realized the Tascam portacapture X6 is about $100 less than the H5Studio, making the former more appealing to me. Although a more fair comp would probably be to the X8, which is about the same price as the H5stduio.
If I were to have a recorder with large external mics, I would like them to be movable, like the X6.
I don't think the original H5 mics were movable either.
Just curious: is recording at a sample rate of 192kHz that common?
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I don't think the original H5 mics were movable either.
They were removable, and they were interchangeable with the original H6 and H8 as well as F4 and maybe more recorders.
Just curious: is recording at a sample rate of 192kHz that common?
It is my impression that fieldrecording at 192kHz is becoming the standard when intended for sale in commercial sound libraries.
I don't think the 192kHz is often utilised, but gives the headroom to process and slow sounds down for effects, if required.
I don't think most amateurs like myself have much benefit from more than 48kHz unless you plan to record ultrasonic sounds, like bats.
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I don't think the original H5 mics were movable either.
They were removable, and they were interchangeable with the original H6 and H8 as well as F4 and maybe more recorders.
Just curious: is recording at a sample rate of 192kHz that common?
It is my impression that fieldrecording at 192kHz is becoming the standard when intended for sale in commercial sound libraries.
I don't think the 192kHz is often utilised, but gives the headroom to process and slow sounds down for effects, if required.
I don't think most amateurs like myself have much benefit from more than 48kHz unless you plan to record ultrasonic sounds, like bats.
:bigsmile:
:shrug: :turnevil:
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nice looking deck. looks pretty small too.
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It is my impression that fieldrecording at 192kHz is becoming the standard when intended for sale in commercial sound libraries.
I don't think the 192kHz is often utilised, but gives the headroom to process and slow sounds down for effects, if required.
I don't think most amateurs like myself have much benefit from more than 48kHz unless you plan to record ultrasonic sounds, like bats.
Not headroom precisely, but oversampling.
Each octave of pitch shift requires a halving or doubling of frequency.
With 192 kHz, one is able to play back at 1/4 speed, and still retain samples with listenable audio content up to 24kHz (equivalent to recording at 48Khz, but two octaves lower in pitch)
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nice looking deck. looks pretty small too.
Oh. I thought it looked huge in the reviewer's hand. But I'm much more familiar with smaller form factor devices, rather than this class.
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I think the limiter(s) are disabled in 32-bit mode. They are only useful in 24-bit.
I don't know the answer to that short of going through the 180 page manual again, but I can imagine limiting being useful even at 32 bit float as an "effect" in essence, particularly on dialog - though personally I'd do that in post rather than at the source.
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I would concur with the above. Whatever those knobs are for, it would be senseless for them to be there for somehow adjusting gain for 32-bit float recording. In my humble opinion.
Adjusting gain post-DAC in 32 bit float can be useful when playing back lowish level recordings, which would usually have been recorded at higher levels than zero gain when using 24 bit. But on the other hand, the device does have optional normalised playback which gets around that problem within the device itself. Also, the recorder can capture a mix of the built in mics and the external mics (or four inputs if the alternative top module is attached) and the gain controls play a part in the balance of that mix, as I understand it.
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Comparisons with the Portacapture X6 are indeed interesting. As you would expect from me, my first comment is that there is a curious lack of mention of Dual ADCs in respect of the X6. Tascam's own page and the standard text on vendors' pages do not mention that. But with the X8, dual ADCs are featured in such places. Hmmm. These days, as far as I am concerned, if the blurb doesn't say dual ADCs then I would assume single unless told otherwise. The H5Studio claims dual ADCs on all 4 channels.
The Zoom device refers to F series preamps which are well respected. But Avisoft state that the X6 has -127dB noise figure, same as Zoom claim for the H5Studio.
The mics on the X6 have the advantage of being rotatable whereas those on the H5Studio are not. But the H5Studio mics are larger - which can be good, not always - and can be swapped with other top modules including the XLR module. Thus it can support 4 phantom mics but the X6 only two (and the X6 connectors coming out of the side may or may not suit individual purchasers). I have not seen any spec for the X6 max SPL but for the H5Studio it's 140dB which is about as loud as anyone would want to encounter.
Here in Australia a quick survey of pricing shows these two devices being sold at the same price. But of course in coming months, heaven only knows where prices might end up...
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As a reminder, Tascam has a page listing which products have which preamps. The X6 and X8 have the same ones:
https://tascam.com/us/category/hdda
As far as I have seen, zoom doesn't have such a page so we're dependent on asking in video reviews or product review pages to get the info. It would be nice if Zoom had such a page, and it would be nice if both companies clearly spelled out which recorders have dual ADC vs single. However, at least in this case, they are claiming to have the same pre-amps as the F series, so we're not as dependent on it.
Regarding the h5studio, it might be worth investigating how many tracks can be recorded in 32 bit. Apparently the X6 can only record two channels in 32 bit.
The video you linked to in this post is no longer available: https://taperssection.com/index.php?topic=206984.msg2425722#msg2425722
hmmm...
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In the specs published by Zoom they say the device is capable of recording 6 simultaneous tracks (the mic or whatever at the top, the inputs at the bottom, and a stereo mix of those sources). Checking the full manual, they state that recording the mix file when the inputs are set to 192kHz is not possible, but I'm not seeing anything about not being able to record 32 bit float from only one pair of inputs. And if the Zoom H2e can do that, well, I'd expect the H5Studio to do it!
As for the X6 only recording two channels in 32 bit float, looking rather quickly through the manual I can't see any reference to that limitation - the nearest thing is that 32 bit float is not available at all in 'podcast mode'. I have to say that I'm glad I haven't got an X6 as it seems very confusing to use, though perhaps that's my antiquity speaking...
Interesting that they took down that video. The video they should have taken down was the one for the humble H2e, where they show a group of musicians being recorded with the H2e placed in the centre of the group. And it's mono audio, which kind of completely undermines the point of the video. A couple of comments suggested they should take it down but it's still there. Anyway, back to the H5Studio...
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Curtis will be doing a live zoom h5 studio first impressions stream today in a couple hours:
https://youtu.be/zBlsbkOWEVI
I won't be able to join live but will watch on the playback. Hopefully he'll have a separate video about the recorder on his other channel in the next few days.
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Thanks for the heads-up. I watched the show after it was finished and then posted the following comment. As usual from me, it's not short...
"One very important factor you didn't mention is that the gain controls are digital, not analog. Have a look at the full manual and check out the circuit diagram right at the end. The first thing after the input sockets / mics are the A/D converters.
Now this affects the whole way you might regard this device. It offers 24 bit and 16 bit as well as 32 bit float, but that choice is only of any importance if you want to hand over to someone else a 24 or 16 bit recording - or if you can't handle 32 bit float when you edit. The usual thing about setting gain in 24 or 16 bit manually really becomes close to pointless. Anything you could do with the gain controls on the device, you could do when editing later. Digitally raise the gain in-device, or in editing, same thing.
The risk when recording other than in 32 bit float on this device is that you could turn the digital gain controls up to the point where the 24 bit file can't handle the level, and you'd get digital clipping. So they advise aiming for -12dB on the meters (which by the way can be presented in three different display styles, worth exploring). On the other hand, max digital gain applied when recording in 32 bit float won't matter because you'd never hit the +1500dB limit (or whatever it is). I know you tend to prefer setting gain manually for 24 bit recordings, fair enough, but with this device it's hard to come up with a reason to do that (other than the scenarios I mentioned before). If you do really, really need 24 or 16 bits, then the gain controls would mean that the output could be made to look at a healthy level when handing it to someone else, and/or they would instantly replay at a clear level, but I'm not sure there is much point in the rapidly standardising 32 bit float world we seem to be marching into.
I think this is a great device which I would buy in a heartbeat if I was actually doing any recording these days, sigh, but it is not a device suitable for anyone who wants a traditional approach to 24 or 16 bit recording, where you set the gain to get the best from the preamp. On this device, the preamp levels are fixed."
I suspect Mr Judd may be surprised to read that. Let's see.
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Curtis' review of the h5studio has been published: https://www.youtube.com/watch?v=kqaZIwEvye4
He says it's his favorite handy recorder from zoom and would use it over the tascam portacapture x8. Curtis did call out the block diagram from the manual and mentioned the gain adjustments are digital.
He didn't really spend much time talking about 16/24 bit modes.
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Yup. I posted a comment saying that I had no comment! I have tended to get a bit obsessed with things like the dual / single ADC thing and the digital gain thing when commenting on some of his reviews and I suspect he will be glad that he doesn't have to read a multi-paragraph diatribe from me this time. I do think this recorder is going to become amongst the most popular in its general price range.
Well - he did highlight the problems with handling noise, rightly, but I can't imagine how when the mic assembly is so light in these devices that a really effective suspension can be implemented. The mics have near zero inertia. So effectively decoupling them from the device body must be close to impossible. Laws of physics.
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Yup. I posted a comment saying that I had no comment! I have tended to get a bit obsessed with things like the dual / single ADC thing and the digital gain thing when commenting on some of his reviews and I suspect he will be glad that he doesn't have to read a multi-paragraph diatribe from me this time. I do think this recorder is going to become amongst the most popular in its general price range.
Well - he did highlight the problems with handling noise, rightly, but I can't imagine how when the mic assembly is so light in these devices that a really effective suspension can be implemented. The mics have near zero inertia. So effectively decoupling them from the device body must be close to impossible. Laws of physics.
After handling one I will say the rubber shock mounts for the mics are too hard. They should be softer for that light of a weight microphones. That leads to a lot of the handling noise. Also I tested a set of Clippy 3.5 vs XLR Clippys. The recording levels of the 3.5 clippys are way lowers than the XLR clippys. I have only seen this when the 3.5mm uses a single ADC and the XLR uses a Dual ADC set-up. Not positive this is the case with the H5studio or not yet though.
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I'm most curious about those onboard mics, personally. 19.4 mm is just shy of what is traditionally called "large" in the diaphragm sizing world. Medium diaphragm? They look stout.
I've stealthed quite a few shows with my H1essential since getting it in February 2024. While the XY90 stereo 'image' is not the most natural and open, it's undeniably reliable and forgiving, both of which are perfect for flying under the radar. Problem is, the built-in mics of this device are not impressive in the slightest. They're plastic, as is the rest of the device. It's small, handy, cheap and does an "ok" job at what I'm using it for. Any tape is better than none, I've always held that belief near and dear.
One of my all time favorite bands, Supergrass, has reunited to perform their debut LP, "I Should Coco" in it's entirety live in concert for it's 30-year anniversary and I am stoked beyond what words can convey. I'm very strongly considering getting this device to record the show. Since I doubt the 'Grass and the venue would be cool with me setting up a full rig (maybe worth asking?), I'd like to at least walk out of there with the best recording I can manage, and this device may just be it.
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Video regarding wind protection for the zoom h5stdio: https://youtu.be/f1iDUtqbnVM
I imagine radius will be working on making a windscreen very soon, so check their site often: https://radiuswindshields.com/
Rich also said handholding it doesn't really work, as many expected, so it may not be that ideal for stealth recordings.
Video of the h5s that Rich mentioned: https://youtu.be/H-e482bxdNQ