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With its impressive track count and interchangeable input modules, Zoom's H6 is one of the most flexible handheld recorders available.
Zoom's H6 is designed to be extremely versatile, and should interest budget film-makers, musicians, bands, interviewers and anyone else trying to capture multiple sound sources on location. The main body of the H6 accepts four different input attachments, each of which expands its recording capabilities in a different direction. Zoom liken the attachments to camera lenses, which can be swapped over very quickly to change the capabilities of the hardware.
The device records up to six tracks of 24-bit/96kHz Broadcast WAV audio simultaneously, plus an additional two -12dB 'safe' backup tracks that can captured from the attachment mics or inputs. On the main body of the recorder there are four XLR/TRS combi sockets, each of which can be assigned phantom power independently of the others. What's more, each input has its own hardware level-control dial, much like those commonly found on professional location recorders, and a -20dB pad switch.
The identity of the remaining two inputs depends on the attachment type. Options include X/Y, M/S and shotgun microphone systems, and a dual XLR/TRS combo attachment with a hardware level control and pad switch matching those on the main body of the recorder. The X/Y and M/S capsules are included as standard, together with a foam wind shield that fits them both, but the other two are optional extras, the shotgun being almost twice the price of the additional input module.
The X/Y capsules, which can be set at either 90 or 120 degrees, are mounted on a moulded piece of metal which feels very solid and protects them from side knocks, although they are still vulnerable to front-on impacts. The block itself contains the contact board which carries the data, and the two spring-loaded clips that secure it to the body of the recorder.
The M/S mic attachment, in contrast to the X/Y attachment, feels rather lightweight and flimsy, and does not look like something that will survive a knock. The section which attaches to the body of the recorder is solid enough, but the mic capsule enclosure is ball-shaped, and has a point of weakness where it meets the attachment block.
Although the H6 is very capable as a recorder, it's also able to function as a digital interface, sending its audio directly to DAWs via a USB connection. When put into Multitrack mode, all six audio channels can be sent simultaneously, while the recorder provides a stereo return signal for monitoring. In this mode, any processing that has been selected is also recorded, so the user has the option of applying to any of the inputs a low cut filter of 80, 98, 115, 133 or 150 Hz, and one of three compressor and two limiter presets.
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. For a start, the casing is very thick and solid, which means that the sockets for the interchangeable attachments and the four XLR/TRS inputs are held firmly in place and are very unlikely to break. 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. For example, tracks inputs 1/2 and 3/4 can be paired simply by pressing and holding their track select buttons, making it possible to set up three stereo recording channels very quickly.
The remaining hardware features are scattered around the edges and include the SD, SDHC and SDXC card slot, which accepts cards of up to 128GB 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. The menu system is, as mentioned above, where compression/limiting, low-cut filter and phantom-power assignments are made for each input, and it's a bit of a pain to have to seek them out. 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!) and can be moved, without reference to the on-screen metering, until the LEDs no longer flash.
While on the subject of the input dials, it has to be said that they're the only feature, apart from the M/S mic, which feel a bit flimsy. 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. I connected a Neumann KM184, Audio-Technica AT4047 and two types of dynamic mics to the XLR/TRS inputs and compared their recordings with those of the X/Y array (set at both 90 and 120 degrees). Although all the mics sounded different from one another, the Zoom X/Y module did not suffer by comparison, and managed to capture low-end frequencies in a way which other handheld recorders at the budget end of the market often fail to do. Budget recorders also tend to introduce slightly higher levels of audible noise, but this too was pleasingly absent.
Zoom have obviously done their research and set out to top the competition wherever they could. Apparently the pad switch allows input signals 30dB louder and 14dB softer than other 'Handy Recorder' products, and the preamps use higher-voltage power rails than other designs to avoid distortion. Even the diaphragms of the X/Y mics have been specifically chosen so that they are larger than those of the competition. Whatever the relative merits of these design decision might be, the H6 does a very good job and is capable of some serious recording work. The only real omission is that of a high-impedance option for when connecting electric guitar and basses — which is a little odd, given the presence of the onboard tuner and other such facilities.
The M/S array's overall sound is similar to that of the X/Y, both in terms of quality and dynamic range, although, by its very nature, it is a little less tight and more expansive, and seems to handle lower frequencies more comfortably.
Zoom are probably going to sell a lot of H6 recorders. The product's ability to record multiple signals simultaneously, with independently configured phantom power, filter and dynamic settings, makes it very attractive to those recording sound for small films, documentaries and reportage, and to bands who want to record multiple instruments, or simply experiment with different microphone configurations. The recording quality is impressive for this price and, with just the few highlighted exceptions, so is the build quality.
You can't please all the people all of the time, of course, and the price of the Zoom H6's versatility is paid in small frustrations that will irritate some users. The angled screen might be useful on top of a DSLR camera, but it is not helpful to artists recording themselves. The layout of the inputs, mics and screen make the H6 unwieldy as a computer interface, and setting up the mixer pages on such a small yet heavily featured device is inevitably fiddly, particularly when some settings, like phantom power assignment, are accessed only from menus.
But overall, the H6 represents great value for the money, and for anyone wanting to invest in something which provides flexibility in terms of recording options, it truly stands out from the competition.
Edirol's R26 is a six-channel recorder but, unlike the H6, it records three stereo pairs only. It has a touch screen for fast menu navigation, X/Y and omnidirectional microphones, plus two XLR/TRS inputs.
The shotgun and extra inputs attachments (SGH6 and EHX6, respectively) were not sent for review so no comment can be made about their performance, but judging by the way the H6 intelligently adapts its internal setup to the other two attachments, they should be no trouble to mount and start using. It should be noted, however, that although the EHX6 input attachment appears to have the same features as the four on-board inputs, it does not provide phantom power.
- Flexible recording options.
- Swapping the attachments is easy and fast.
- Works as a 6-in, 2-out DAW interface.
- Four phantom-powered XLR/TRS combo inputs.
- Hardware controls for all basic record functions.
- For the most part, the construction is very solid.
- Good integration with DSLR cameras.
- M/S capsule feels fragile.
- Some of the most important adjustments are buried in the menu system.
- Pad buttons are too close to the level dials.
- Screen angle does not suit self-recording performers.
- No high-impedance input setting for guitars and basses.
The H6 is capable of simultaneously recording up to six different channels of audio using a variety of microphone types and configurations. It prioritises the act of recording, providing dedicated hardware controls so that recording is fast and simple. Other settings, though, are made via a menu system, which restricts the speed at which the operator can work. The H6 also works as a 6-in, 2-out computer interface via USB.
Zoom UK +44 (0)1462 791100.
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Zoom h6 – turn on phantom power.
- Audio Interface & Hardware Tutorials
The Zoom H6 allows you to turn on Phantom Power on all tracks or just certain tracks. You can also select the proper voltage (+12, +24, or +48) Phantom Power is mostly used to power condenser microphones.
Remember to turn off Phantom Power when not needed to preserve battery life. While Phantom Power is usually not dangerous to dynamic mics, ribbon mics may be damaged with Phantom Power as will Line Outputs of studio gear…so TURN IT OFF when you don’t need it.
ZOOM H6 Phantom Power
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- General Discussions
Best phantom power voltage, or should I use battery powered?
- Thread starter jplaforest
- Start date Apr 29, 2014
- Apr 29, 2014
Hi everyone, I am currently using a Zoom H6 which can output 12v, 24v, and 48v phantom power, and an Audio Technica AT803 lav which can run off a AA battery or 11-52v phantom power. Since the recorder and mic can both work with 12, 24, and 48v phantom power, is either option better for either sound quality, battery life, or anything else? How about phantom vs AA battery? Any help would be appreciated. Currently I split the difference and went with the 24v which sounds well and has no issues, but curious what the best practices would be. According to the AT803 specs: OPEN CIRCUIT SENSITIVITY Phantom: -44 dB (6.3 mV) re 1V at 1 Pa Battery: -46 dB (5.0 mV) re 1V at 1 Pa IMPEDANCE Phantom: 200 ohms Battery: 270 ohms MAXIMUM INPUT SOUND LEVEL Phantom: 135 dB SPL, 1 kHz at 1% T.H.D. Battery: 121 dB SPL, 1 kHz at 1% T.H.D. DYNAMIC RANGE (typical) Phantom: 107 dB, 1 kHz at Max SPL Battery: 93 dB, 1 kHz at Max SPL
- Apr 30, 2014
jplaforest said: Hi everyone, I am currently using a Zoom H6 which can output 12v, 24v, and 48v phantom power, and an Audio Technica AT803 lav which can run off a AA battery or 11-52v phantom power. Since the recorder and mic can both work with 12, 24, and 48v phantom power, is either option better for either sound quality, battery life, or anything else? How about phantom vs AA battery? Any help would be appreciated. Currently I split the difference and went with the 24v which sounds well and has no issues, but curious what the best practices would be. According to the AT803 specs: OPEN CIRCUIT SENSITIVITY Phantom: -44 dB (6.3 mV) re 1V at 1 Pa Battery: -46 dB (5.0 mV) re 1V at 1 Pa IMPEDANCE Phantom: 200 ohms Battery: 270 ohms MAXIMUM INPUT SOUND LEVEL Phantom: 135 dB SPL, 1 kHz at 1% T.H.D. Battery: 121 dB SPL, 1 kHz at 1% T.H.D. DYNAMIC RANGE (typical) Phantom: 107 dB, 1 kHz at Max SPL Battery: 93 dB, 1 kHz at Max SPL Click to expand...
48v is the standard , the lower voltages are just easier to produce. Upping the voltage lowers the current, which is also important. Headroom on the lower voltage supplies doesn't have to be compromised, it's down to design, but on a mic designed for 48v, but capable of operating on, say, 12v headroom and performance is usually reduced. Few mics have a 12v limit, because the higher voltage is so common. Some thing designed to run from 1.5v can easily be happy with 48v phantom, but I would not buy a piece of kit that could not provide 48v, which is, after all, the standard .
I agree Rob, failure to provide the full 48V does tend to smack of cheapening down. But power supply issues are complicated these days due to the increasing use of DC-DC converters which are now relatively cheap and give remarkably good performance in terms of regulation and noise. The use of such converters also make supply voltages less important, a mic for example might be perfectly happy on 24V or 48V because it simply converts the incoming power to what it needs. The result is that power sources need to be able to supply sufficient current because devices will draw the power they need almost irrespective of the supply voltage. On equipment other than microphones I would like to see a world standard of 12 volts (cos of cars!) except for devices that need very high amounts of power* . My personal bête noir is the various laptop voltages and bas'td connector variations (have you ever tried to BUY a Dell power plug?) . How many PSUs have gone to landfill for the want of the right voltage or a buggered DC lead? Is that Green or what? *But even here, big Mother ICE amps have internal DC-DC conveters. Dave.
rob aylestone said: 48v is the standard, the lower voltages are just easier to produce. Upping the voltage lowers the current, which is also important. Headroom on the lower voltage supplies doesn't have to be compromised, it's down to design, but on a mic designed for 48v, but capable of operating on, say, 12v headroom and performance is usually reduced. Few mics have a 12v limit, because the higher voltage is so common. Some thing designed to run from 1.5v can easily be happy with 48v phantom, but I would not buy a piece of kit that could not provide 48v, which is, after all, the standard. Click to expand...
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Will the phantom power dry the Zoom H4n/H6 power in only 15 minutes?
By Dan Wake , June 11, 2014 In: Cameras
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I have read over internet (I do not remember where) that if I connect some shotgun mic powered only by phantom power to the Zoom H4N.... the battery will last only 15 minutes. Is that true?
I have the Zoom H6 (the new model) and I'm tryng to save money to buy the Rode NTG3 that have not internal battery, so it only works with phantom power. How do I have to expect the performance of my recorder? Will it really last only 15 minutes?
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If you go to gearslutz.com, you can find posts about the H6 lasting a few hours with phantom power on. Of course, how long it lasts depends on the microphone. Most mics that are built for DSLR use should sip power at a reasonable rate.
do you think few hours are enough to work as sound designer (taking audio dialogues for short films for example)?
The Zooms are battery powered. If you use Eneloop Extreme (which I use on my Sony PCM-M10) and bring a few spares, you can last a whole day. So unless you need to shoot continuously without stopping for hours, you should be fine.
The Zoom H4N is notorious for gobbling batteries whether using phantom power or not. You would be lucky to get a couple of hours use out if a set of new Duracells.
H6 is better from what I read.
thanks @Varicam so I did the right buy I hope! :)
I wanted to ask you how many mAh are the Eneloop Extreme that you use? thanks!
ok thanks I'll search for them :) how with them does it last more than normal batteries? thanks again and sorry for continuous answering but I'm really curious about those questions! thx again! :)
Once phantom power is on, as soon as you put it in standby or record, its sending 48 volts through the output, no matter what is or isnt plugged in. (as far as I know)
The H4N has a stamina mode that is much easier on power but you can record only in 44.1khz
Once phantom power is on, as soon as you put it in standby or record, its sending 48 volts through the output, no matter what is or isnt plugged in. (as far as I know) The H4N has a stamina mode that is much easier on power but you can record only in 44.1khz , I prefer this trade off myself..
i know that audio standard for cinema is 48hz for dialogues so maybe this is not a good idea. can it go out of sync if recorded at 44hz? or slow/pitch the movie to sync? if anyone can explain why 48hz is cinema standard I will be really grateful. thx!
44.1 khz is CD quality, 48 is a bit better, you should try and see if you think its noticeable or not, editing programmes shouldnt have a problem but with old fashioned ones like FCP 7 its better to convert to 48khz first..
but I guess is not a question of quality here (cinema standard) it should be that if the timeline is at 48hz and I put one track at 44hz on it... it will sound faster or slower (one of the 2 not sure which).
Try to make a 96hz empty track in pro tools and then put one song recorded at 44hz without converting it at 96hz. it will sound very different (I guess really faster than normal speed).
so if this is correct and it should 48hz is a standard in the cinema not for a question of quality, but for a question of "speed".
it should be like this difference (33 & 45)
45 is a different speed
I've done a work with the H4n and a pair of Oktava Mk012 condenser mics, using both to have a safety audio track (the actress was moving a lot during the shot). Almost 40 minutes for a set of alkaline batteries. All done at 48KHz.
but I guess is not a question of quality here (cinema standard) it should be that if the timeline is at 48hz and I put one track at 44hz on it... it will sound faster or slower (one of the 2 not sure which). Try to make a 96hz empty track in pro tools and then put one song recorded at 44hz without converting it at 96hz. it will sound very different (I guess really faster than normal speed). so if this is correct and it should 48hz is a standard in the cinema not for a question of quality, but for a question of "speed". it should be like this difference (33 & 45) 33 45 is a different speed
true but any modern NLE will know what sample rate the file youre importing is and adjust, 1 second will still equal 1 second..
yes but conversions always ruins a little bit the original file i guess but I do not know how exactly :P
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Zoom H6 recording levels
I purchased a Zoom h6 for recording sync sound for my movies. I am using a Røde ntg 3 shot gun mic., using phantom power.
Recently I recorded some ambient sounds for my short film. I found that the volume levels are low; I'd kept the gain levels between 5 and 6
I then tried normalizing the tracks using zoom H6, but couldn't find much difference.
Based on the instruction manual I tried keeping the levels around -12 db.
How can I improve the levels?
I have a sound devices single channel pre amp. When I use this pre amp and use Zoom h6 only as a recorder, sound quality is slightly better, but using them both will be very cumbersome on location.
I prefer to use a simple set up – a shot gun mic with Zoom h6.
- Bear in mind that a shotgun is almost the worst mic for most situations recording ambiences. In a distributed sound field, sounds from all around you hit the mic off-axis, getting filtered and mangled. This on top of the fact that you're getting a mono recording, which comes across as pretty lifeless for that kind of thing. I'd actually recommend using the XY capsule over the NTG3. Unless you're recording a specific point source. – Igid Mar 8, 2018 at 9:50
4 Answers 4
While recording ambience sounds in Zoom h6 I have found that I generally have to keep the gain near 8-9 , for situations like general traffic and cityscape 6-7 usually works considering that one is recording in a generally noisy environment. Again when I have tried recording in villages, I really have to push up till 10 sometimes as these places are very quiet. But then, you can also increase the gain from the Menu, then go to Moniter mixer and increase the gain from there.Now you can increase the gain from the knob if you want to, so your recording level should be optimum. hope this helps :)
With a limited dynamic range - which you will often find with recording backgrounds and atmos - you can increase the gain on the recorder, but you will simply find yourself increasing the level of microphone and preamp-self-noise along with the limited signal that you are recording.
There is no recommended setting - other than to recommend you use your ears and eyes. Simply record to a level where you are modulating the recorder adequately - leaving yourself enough headroom to deal with peaks without clipping. Always keep the recorder at a constant level during a take - don't try and change gain mid-take or the recording will not be useful.
You will definitely get a better result with an MM-1 on board, as this will likely be a much quieter preamp with less self-noise.
However, I would say that mono backgrounds are of limited use other than as "atmos" or "room tone" for smoothing out edits. You would be better served with a spaced-microphone setup or M/S for recording backgrounds/atmos.
Recording levels of H6 should be kept under 6 even for quiet sounds. It depends what kind of sound source you are recording. For loud sounds/loud speech I'd say NTG3 directly to H6 is OK (I have the very same setup). For quiet sounds/whispering you can benefit from using your external preamp. Always keep your recording levels with some headroom left and do normalization or compression in the postproduction.
When you say "I then tried normalizing the tracks using zoom H6, but couldn't find much difference.", does the track contain microphone/stand setup noise, a synchronization clap or even the moment you switch on phantom power?
The loudest sound on the recording will determine the amount that normalization raises the volume, as it only does so until the loudest sound is at maximum volume. As a result, normalization only makes sense after editing the material to the stuff you actually want to retain.
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Dirty or obstructed battery terminal, faulty battery terminal, incompatible memory card, memory card is not inserted properly, memory card slot obstructed, brightness is set too low, power saving mode is on, gain levels on the device need readjustment, device settings need readjustment, input devices are not plugged in properly, microphone connections are bad and/or microphones are dirty, usb cable is not inserted properly, faulty usb cable, computer software disabled device recognition, audio level is low, there is no sd card in sd slot, sd card does not have enough space, “hold is on” is enabled in the device settings.
Zoom H6 Handy Recorder Troubleshooting
The troubleshooting page will access any problems user may be having with Zoom H6.
An awesome team of students from our education program made this wiki.
Recorder will not turn on
The device will not power up or respond to the power switch.
Recorder won’t turn on because of low battery life or dysfunctional batteries. Replace with four AA batteries. If the batteries are replaced and the device still does not turn on, then there might be a problem with the battery terminal.
If new batteries have been placed in the terminal and the recorder still does not turn on, make sure the battery terminal is clear of debris. Dirt and dried battery acid can block the batteries from powering the device. To clean the terminals, use a disposable brush like a toothbrush to sweep away loose debris. For compact battery acid debris, use a cotton swab lightly soaked in white vinegar and wipe the terminal contacts clean. The white vinegar neutralizes the battery acid.
If the batteries were replaced and the device still does not turn on, then there could be a problem with the battery terminal and it needs to be replaced .
Device will not read the memory card
When the memory card is inserted into the device, the device does not detect or read the card.
The device will not be able to read from an incompatible card. Ensure that memory card is the appropriate size and has open space (compatible cards: SD, SDHC, SDXC up to 128 GB).
An improperly inserted memory card can lead to the device being unable to read data. Remove and reinsert the memory card. If problem still occurs, then there may be debris in the slot that is preventing the H6 from reading the card.
Any debris in the slot could cause the device to not read the memory card. Turn off device. Check for any debris that may be in the slot. Remove debris using pressurized air.
Screen is dim or unreadable
When turned on, the display is not visible in different lightings.
Low brightness causes the screen to be dim. Press the menu button, go to “System” and then go to “Backlight.” Under “Backlight,” go to “Brightness” and select the brightness setting that you prefer.
Power saving mode attempts to save battery life by dimming the screen. Press the menu button, go to “System” and then go to “Backlight.” Under “Backlight,” go to “Power Saving Mode” and select “off.”
When playing back the audio, the sound is distorted.
Maladjusted gain levels can lead to unclear and distorted audio. Adjust knobs until audio playback is clear. Focus on knobs that are connected to the microphones. If audio is still distorted, then the issue is possibly caused by improper connections or a broken/dirty microphone.
If settings are not adjusted to get the desired audio, then the audio will sound distorted when played back. If the playback speed needs adjusting, press the menu button, go to “Project Menu,” select “Playback Speed,” and adjust the speed. If playback mode needs to be changed, press the menu button, go to “Play,” select “Play Mode,” and select the desired mode. If the pitch needs to be changed without changing the playback speed, press the menu button, go to “Project Menu,” select “Project Mixer,” select the track in which the pitch needs to be changed and then adjust the pitch. Lastly, if the balance of the tracks needs to be balanced, press the menu button, go to “Project Menu,” select “Project Mixer,” and change parameters as desired.
Incorrectly inserting microphones or attachments may distort audio. Make sure that each input device goes into its designated spot oriented correctly and clicks into place.
Improper connections can cause distorted sounds. Make sure the microphone prongs are not bent or broken. Ensure the microphone slot is clear of any debris, that the microphone is oriented properly and clicks into place. Refer to this guide if mic connector is broken.
Device not recognized by computer
When connected to computer via USB, ‘device is not recognized’ appears on desktop.
Improper connection to the computer causes device to be unidentified. Ensure the USB cable is inserted properly into the device and computer. Check to see if the computer operating system (OS) is compatible (Windows XP or later, Mac OS X 10.6 or later).
Sometimes the cable itself isn’t working properly, and therefore not letting the device connect to the computer. To confirm the problem is not with the cable itself, connect the recorder to the computer using a different USB cable.
If using Windows 64 bit, click on the Windows “Start” button. Go to “Control Panel”, click on “Hardware” and then click on “Device Manager”. Expand universal serial bus controllers. Right-click USB composite device and uninstall. On the top menu of “Device Manager”, click “Action” and then click “Scan For Hardware Changes”. Once device is automatically recognized, install the driver software.
There is no sound or volume is very quiet
Audio playback is low or not audible on the computer.
Audio settings may cause sound to not be audible. Right-click on speakers and select open volume mixer. Identify if Zoom H6 appears on the panel. Click and drag the audio level until noise is audible.
Device will not record
Device will not record any audio.
Device needs memory card to record data onto. Check if there is a SD card inserted with free space.
Replace the SD card with a new and compatible card or delete/transfer old files from current SD card to a computer or external hard drive.
The H6 recorder has a hold function to prevent accidental recording. If "Hold is on" appears on the display, the hold function is enabled. To disable the hold, slide the power switch to the center.
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i’m getting the hold is on message when the slide toggle is in the middle
jeffroemeek - Feb 4, 2019 Reply
I have the same problem, did you find the answer?
soheila javaheri - Sep 26, 2019
I´ve got the same issue. Did you found a solution?
Christian Köhn - Jan 23, 2020
never had problem recording but levels were not showing when I was attempted to record in all tracks. Battery 2/3 full, SD card has plenty of memory.
Mal - May 25, 2019 Reply
the screen turns on 3 blank seconds and then it goes off completely every time I want to turn it on
audioclaveran - Jun 8, 2019 Reply
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The Zoom H6
The most versatile portable recorder ever
The Recorder That Does It All.
The H6 is the ultimate portable recorder. With its advanced preamps and interchangeable capsules, the H6 delivers unmatched versatility and award-winning quality.
From podcasting to music to filmmaking and more, the H6 is your go-to recorder.
From the studio to remote locations, podcasts are produced everywhere. With inputs for every guest, the battery-powered H6 is a complete portable podcasting solution.
Unlimited Studio Time
The H6 is your personal music studio 24/7. With up to six* discrete line-level / mic-level inputs, plus the ability to overdub and more, the H6 provides the road from a great idea to the perfect track.
*Optional EXH-6 mic capsule required
Sound for Every Scene
Featuring interchangeable mic capsules, four combo inputs and six tracks of quality recording, the H6 is ready to record on any set and in any scene the director throws at you.
From Sampling to Sound Design
Whether you’re a musician creating your own unique masterpiece, or a sound designer looking for that perfect sound effect, the H6 will become your most trusted companion.
SIX INTERCHANGEABLE MIC CAPSULES
Ins & Outs
Ins The H6 offers four XLR/TRS combo jacks with dedicated pad switches and gain control for distortion-free recording.
Outs The H6 features two 1/8” outputs, a stereo line out as well as a headphone out with dedicated volume control.
Multi-Channel Audio Interface
The H6’s USB port enables it to serve as a stereo or multi-channel audio interface for your computer or iPad.
Recording Time & File Formats
Record continuously for over 20 hours with just four AA batteries or extend your recording time indefinitely with the optional AD-17 adapter.
The H6 records individual WAV files in any of the following formats:
The Most Versatile Portable Recorder Ever.
What's in the box.
Here's what comes included with the H6.
- XYH-6 X/Y mic capsule
Optional H6 accessories
- SGH-6 Shotgun mic capsule
- SSH-6 Stereo Shotgun mic capsule
- EXH-6 Dual XLR/TRS Combo capsule
- MSH-6 MS mic capsule
- HS-01 Hot Shoe Mount adapter
- APH-6 Accessory Pack
- PCH-6 Protective Case
- WSU-1 Universal Windscreen
- ECM-3 Extension Cable (3 meters)
- ECM-6 Extension Cable (6 meters)
- Manfrotto PIXI Tripod
H6 Handy Recorder Accessory Pack
Protective Case for H6 Handy Recorder
Adjustable Stereo Microphone Capsule for H6, H5, Q8, U-44, F8, F6, F1-LP and F1-SP
Shock Mounted Stereo Microphone Capsule for H6, H5, Q8, U-44, F8, F6, F1-LP and F1-SP
Shotgun Microphone Capsule for H6, H5, Q8, U-44, F8n, F1-LP and F1-SP
Stereo Shotgun Microphone Capsule for H6, H5, Q8, U-44, F8, F6, F1-LP and F1-SP
Dual XLR/TRS Input Capsule for H6, H5, Q8, U-44, F8n, F1-LP and F1-SP
DC5V USB AC Adapter
Extension Cable for Zoom Interchangeable Input Capsules