ZOOM H4 HANDY RECORDER
Jan 1, 2007 12:00 PM, BY JIM BATCHO
1. Listen to some ambience recordings taken in San Francisco's Golden Gate Park with the Zoom H4. There are examples recorded separately in WAV and MP3.
The Sound of Silence (MP3)
The Sound of Silence (WAV)
Rushing Water (MP3)
Rushing Water (WAV)
Kids Playing (WAV)
Traffic (MP3)
Traffic (WAV)
2. Here are some individual samples recorded in a studio with the Zoom H4.
Buffalo Drum (WAV)
Hoof Rattle (WAV)
Slit Drum (WAV)
Zoom excels at low-cost, feature-packed gadgets for guitar, bass and the home studio. Beyond simply recording, the new H4 Handy Recorder seems to encapsulate Zoom's entire catalog — recorders, stompboxes, effects processors and amp modelers — into one tiny package. It also sets itself apart by being a USB audio interface and the only handheld recorder in its price range that sports both XLR microphone inputs (with switchable phantom power) and built-in stereo condenser microphones.
As a recorder, the H4 packs in all the essentials you'd need to capture sounds in the field: built-in stereo mics, dual XLR/TRS mic/line inputs with 48V phantom power, switchable stereo or 4-track mode and Secure Digital (SD) flash memory-card file storage. It also has built-in effects, a preamp modeler, a mic modeler, a comprehensive metronome and a tuner that does standard and alternate tunings. Additionally, the H4 allows you to mix and bounce files directly inside the unit.
The H4 records at multiple audio resolutions: 24-bit/96 kHz for high-definition recording, 24- or 16-bit/48 kHz for film and video work, 16-bit/44.1 kHz for CD-quality sound and variable bit-rate MP3 (96 to 320 bits). One of the more welcome features of the H4 is the ability to select the recording resolution on the unit surface rather than buried within a menu. You can switch modes easily, and you always see what mode you're in.
GETTING DANDY WITH the HANDY
Getting started with the H4 Handy Recorder is a breeze. Insert the included preformatted 128 MB SD card, switch on the power, plug in some headphones, and you're set. To begin input monitoring, press the Record button once to arm the H4, and press it again to start recording. Beyond that, you'll have to dig into the menu structure, which can be daunting at first. The challenge is that there are three options for moving around the various settings, depending on where you want to be. The main menu is enabled with the menu button, but you cycle through the options with the jog wheel on the unit's right side. Input settings are a different animal and are accessed by clicking down on the same menu button rather than in the center. While somewhat schizophrenic, the menu options are intuitive and not too deep.
The H4 connects to a PC or Mac in two ways: as an interface or as a file-transfer unit. Connecting the H4 as an audio interface was straightforward on my Mac G5. Once selected as an interface connection, the H4 is accessible in the Sound control panel. With Ableton Live already open, I selected the H4 as the input and monitoring device, and it worked immediately. I recorded a voice track using the H4 mic and listened back — all without installing anything, relaunching applications or rebooting. File management is handled much the same way as a portable USB flash drive. While the H4 will only play back WAVs and MP3s, it can store any kind of data file.
IN THE FIELD
The H4 has two operating modes — stereo and 4-track — which serve different needs and reveal different menu structures. There are certain aspects exclusive to one mode or the other. For example, you can use effects only in 4-track mode, but that mode is also limited to 16-bit/44.1 kHz resolution.
For my initial test in stereo mode, I recorded two takes of acoustic guitar at 16-bit/48 kHz from the same position at the same input level. I first recorded with the H4 mic and then again with a similarly designed mic, a Røde NT4 stereo mic. The actual quality difference was marginal, but the Røde captured a broader frequency response, particularly in the lower mid range where it better captured the body of the guitar. The specs identify the built-in H4 mics as “unidirectional condenser microphones,” but I suspect that it actually has a fairly wide polarity pattern. For both recording passes, I had the mics facing 180 degrees away from my computer. The H4 mics absorbed marginally more computer noise behind it compared with the Røde, which leads me to believe it has a wider pattern.
The device exhibits considerable handling noise, so Zoom throws in an adapter that accepts tripod mounts. It's a bit clumsy in that it secures with two strips of Velcro, but it actually holds the unit securely in place and doesn't cover up any of the controls. At first, I was disappointed that the thread diameter wasn't made to accept a microphone stand. But once I got my hands on a $20 mini tripod, it made sense. Then I could set the H4 securely on a desk and point it at sound sources by holding the collapsed tripod rather than the unit itself.
Input gain is stepped in three settings — low, mid and high — that are switchable on the right side of the H4. Although restrictive, they worked well in most situations. For more detailed recordings, there are menu settings that allow you to fine-tune the input gain. The input stage features a compressor or limiter to attenuate hot signals, but it doesn't come with a highpass filter. The limiter was a little on the aggressive side. In some cases, recordings would generate significant ducks in volume when hit hard. Zoom also includes a foam windscreen that has a positive and dramatic effect.
I took the H4, tripod, two AA batteries and headphones to a local park. For each recording, I did two takes: one at 16-bit/48 kHz and one at 128 Kbps MP3. Both generated clear recordings. In fact, the stereo mic in this setting surprised me with its detailed, nice stereo image and, to my ears, low self-noise. What really caught me off guard was that while the mic has a wide spread, it's also very good at focusing on particular sounds on-axis, much the way a narrower cardioid might do. While I wouldn't do a Hollywood film shoot with it, it's wonderful for capturing sounds in the field.
IN THE STUDIO
Switching from stereo to 4-track mode changes the menu structure considerably, and some external controls take on new functions. In 4-track mode, all work is saved to a Project file rather than individual WAV or MP3 files. Here, you have access to the H4's many effects and amp simulators, the guitar/bass tuner, metronome and a mixing and bounce section. The four input-selection buttons (96 kHz, 48, 44.1, MP3) become track-selection buttons (tracks 1, 2, 3 and 4). For each track, you can choose to overwrite or save all takes. You can't record four simultaneous tracks, but you can mix and bounce mono or stereo overdubs. You can also pull tracks from the Project folder to use in a DAW.
At first, the process of working in a Project is quite involved. Select an input, choose amp and effect settings, set levels, dial in the metronome (if needed) and arm each track individually — all on a tiny LCD screen. While it does take a bit of time to cycle through the cumbersome menu structure, the good news is that all recordings and settings are saved and recalled within Project files, which you can copy into new Projects.
The tuner is very functional, although a bit slow to respond. It's nice to have presets for both guitar and bass, as well as alternate tunings and a calibration function. The metronome is similarly comprehensive, with count-off, tempo, variable click sounds and multiple time signatures. In use, however, sometimes the first couple of click notes in the count-off would be at a different tempo. Zoom has included a good selection of effects, with two separate modules, 53 effect types (guitar, bass, vocals and miscellaneous categories) and 60 preset patches. Effects are printed to the recordings; you cannot change an effect after the fact. Preset effects are decidedly wet, but there's a full range of editing options to tweak the sound. All settings preview in real time while scrolling through the parameters.
With all parameters set, recording in 4-track mode was easy. I layered three guitar takes — an acoustic simulation track, a crunchy Marshall track and a vibrato track. Then I mixed the tracks down to a stereo file using the internal engine. While that enables level and pan adjustments, it's not the most natural way to mix. Still, it's hard to fault Zoom for enabling you to do so much with such a little thing. The H4 is something of a chameleon. While it is essentially a field recorder and an audio interface, it does far more as well. The icing on the cake is that its street price hovers around $300.
To hear some recordings from the H4, go to www.remixmag.com.
ZOOM
H4 HANDY RECORDER > $495
Pros: Jam-packed with features. Wide range of audio resolutions. Pleasant-sounding stereo condenser mic. XLR/TRS input jacks. Nice effects and amp-modeling algorithms. Easy basic operation. Inexpensive.
Cons: No battery-power indicator. Convoluted menu structure in 4-track mode. Handling noise. Dodgy metronome.
Contact: www.samsontech.com
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