Zoom R16: 8-tr portable rig (2ch P48) MRSP $400

[sanaka]

It appears to have 8 mic pres, but only two with phantom power.  That seems strange to me.  If they are going to have phantom power for two mics, how hard is it to make it available for all 8?  I wonder how good 8 mic pres can be for 400 bucks.

Not so strange if you're using a pile of SM57's, which I think is likely for the target market. And I'd be surprised if the pre's would do justice to much beyond a SM57 either. Other than being able to be battery powered, this unit seems right in the line of your pared-down all-in-one 'Portastudio' type thing that lots of beginner bands use. Which is not to say it's lame, and for all I know it may be best in that class, but I think that is its class. So, utility for high quality remote recording may be quite limited. Would be cool if I'm wrong though...

Peace,
Sanaka

[Carlos E. Martinez]

I agree, as a video producer that was my main concern as well.  I don;t really ahve need for 96kHz. but do have a great need for 48kHz., which matches the audio being recorded to video.

I think they should cut "film sound professionals" from their pre-release ad or even from further ads, because that may mislead many people that are not familiar with the standards or are starting in the business. Particularly students.

[oleg]

48 is not Holly grail for any  video production , you can record 44.1 and convert the audio to 48 .
there still allot of sfx librerias who use 44.1 and convert it to 48 in editing , for voice recording there is no much difference between 44.1 and 48 . in 90s when most of the editing was made  on avid which  could only support 44.1 that was the main recording . the 48 become popular only after dv cams came to the market .
the main problem i see to use it in normal way  is no tc channel  so you need to record it on one of the tracks  what might bleed to other channels and i dont see any pfl to check individual channels  what quit crucial if you do mix  your stuff and need to check the inputs .
phantom power  on 2 channels is also not abig problem  as these who will use that one probably will go to proper preamp first and then line level , all the wireless gear  ( at least professional grade ) have line out capabilities not to go tru zoom preamp .
so its allot for 400 and make sense  for any mixer have one at least as spare board .

[Carlos E. Martinez]

48 is not Holly grail for any  video production , you can record 44.1 and convert the audio to 48 .
there still allot of sfx librerias who use 44.1 and convert it to 48 in editing , for voice recording there is no much difference between 44.1 and 48 . in 90s when most of the editing was made  on avid which  could only support 44.1 that was the main recording . the 48 become popular only after dv cams came to the market .

A good point. But it adds one more job to be done when capturing double system audio for an Avid Media Composer or Xpress Pro editing. In my case I would be shooting audio for DV/HDV video, so I think it better to sitck to 48.

the main problem i see to use it in normal way  is no tc channel  so you need to record it on one of the tracks  what might bleed to other channels and i dont see any pfl to check individual channels  what quit crucial if you do mix  your stuff and need to check the inputs .

In DAT times people used my TC generator to record the signal in channel 2, properly attenuated. It worked fine and did not bleed into channel 1. The question is how would you capture that TC track when you go into the Avid or any other editing program.

so its allot for 400 and make sense  for any mixer have one at least as spare board .

It looks like a great deal indeed. I am considering it or the H4n. But I don't think you can go in from the outside for 4 tracks in the H4n.

[flintstone]

"I don't think you can go in from the outside for 4 tracks in the H4n."

I'm not sure I understand what is meant by "go in from the outside."
The H4n absolutely can record from four external mics.  Two mics are
connected to the XLR ports, and two are connected to the 1/8-inch
TRS jack on the back side of the recorder.  Of course, you don't get
48V phantom power from the 1/8-inch jack.

Flintstone

[Carlos E. Martinez]

"I don't think you can go in from the outside for 4 tracks in the H4n."

I'm not sure I understand what is meant by "go in from the outside."
The H4n absolutely can record from four external mics.  Two mics are
connected to the XLR ports, and two are connected to the 1/8-inch
TRS jack on the back side of the recorder.  Of course, you don't get
48V phantom power from the 1/8-inch jack.

Well, I meant what you answered. So you can go in with four sources, be it mic or mixer outputs. Thanks.

[oleg]

48 is not Holly grail for any  video production , you can record 44.1 and convert the audio to 48 .
there still allot of sfx librerias who use 44.1 and convert it to 48 in editing , for voice recording there is no much difference between 44.1 and 48 . in 90s when most of the editing was made  on avid which  could only support 44.1 that was the main recording . the 48 become popular only after dv cams came to the market .

A good point. But it adds one more job to be done when capturing double system audio for an Avid Media Composer or Xpress Pro editing. In my case I would be shooting audio for DV/HDV video, so I think it better to sitck to 48.

the main problem i see to use it in normal way  is no tc channel  so you need to record it on one of the tracks  what might bleed to other channels and i dont see any pfl to check individual channels  what quit crucial if you do mix  your stuff and need to check the inputs .

In DAT times people used my TC generator to record the signal in channel 2, properly attenuated. It worked fine and did not bleed into channel 1. The question is how would you capture that TC track when you go into the Avid or any other editing program.

so its allot for 400 and make sense  for any mixer have one at least as spare board .

It looks like a great deal indeed. I am considering it or the H4n. But I don't think you can go in from the outside for 4 tracks in the H4n.

if your main audio is zoom , it doesnt add anything
very simple with avid , 300usd more with fcp as you need to convert the files  and need 3rd party sofwear .

[Carlos E. Martinez]

if your main audio is zoom , it doesnt add anything
very simple with avid , 300usd more with fcp as you need to convert the files  and need 3rd party sofwear .

I am looking for a cheap way to record high quality location audio, and for that you need an external recorder. 4-Track if possible.

How do you capture and synchronize double-system audio for DV/HDV using a Z1 or similar camera?  Taping TC on one track, of course.

[George2]

Use non-TC recorder... it's been done for years.

[oleg]

if your main audio is zoom , it doesnt add anything
very simple with avid , 300usd more with fcp as you need to convert the files  and need 3rd party sofwear .

I am looking for a cheap way to record high quality location audio, and for that you need an external recorder. 4-Track if possible.

How do you capture and synchronize double-system audio for DV/HDV using a Z1 or similar camera?  Taping TC on one track, of course.

dumb slate is good
or - to record tc on one of the camera audio  channels with external tc generator ( denecke /ambient) and another to zoom  audio channels
or use one on zoom , split the  tc out and go to both devices , or make the camera get the split tc thru wierless .
denecke sb-3 sync box  or 2 , g-2 sennheiser wierless , 500-1000 usd , depends on your setup ,
or change camera for something that has tc out  and go to zoom audio channel .
the only problem i see with zoom , you cant monitoring indevidual channels , other wise  very good device for what it worth .

[Carlos E. Martinez]

dumb slate is good
or - to record tc on one of the camera audio  channels with external tc generator ( denecke /ambient) and another to zoom  audio channels
or use one on zoom , split the  tc out and go to both devices , or make the camera get the split tc thru wierless .
denecke sb-3 sync box  or 2 , g-2 sennheiser wierless , 500-1000 usd , depends on your setup ,
or change camera for something that has tc out  and go to zoom audio channel .
the only problem i see with zoom , you cant monitoring indevidual channels , other wise  very good device for what it worth .

What method to use to record TC on camera and Zoom I am quite familiar with. I already have TC generators and Lectrosonics wireless, so that wouldn't be any problem.

The problem is to go in in the Avid MC or Xpress Pro with TC track, then make the program to recognize it as such and sync the audio accordingly. How do you do that? 

[oleg]

ask any aditor how to convert audio channel tc to  time line tc .

[Carlos E. Martinez]

ask any aditor how to convert audio channel tc to  time line tc .

I thought you did know that. I have asked this question many times to editors, and they do not know how to do it.

I know that can be done in Xpress Pro, since version 5.7 or so, but I haven't seen instructions on how to do it.

It should be possible in Media Composer too.

[oleg]

ask on dvxuser.com . or dvinfo.net

[Nerve113]

Does anybody know how to set up Sonar 5 to respond to the faders on the Zoom R16? I'm kind of new to recording and I had read that the recording program would respond to the faders on the console, I'm just not sure how. HELP!