lcd display for zoom h6 manufacturer

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.

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.

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.

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.

XYH-6 Mic Capsule. The XYH-6 X/Y capsule comes standard with the H6. The capsule adds two matched high-quality unidirectional microphones to your H6 or H5. This kind of microphone is most sensitive to signal coming from directly in front, and less sensitive to signal coming from behind or from the sides; in technical terms, they are said to utilize a cardioid polar pattern.

MSH-6 Mic Capsule. Mid-side mic magic. MS (“Mid-Side”) recording: an incredible technique that allows you to actually adjust the width of the stereo image after it has been recorded, making it especially useful for film, video and television projects.

XYH-5 Mic Capsule. X/Y stereo recording allows you to cover a wide area yet still capture a strong center image. The XYH-5 X/Y microphone capsule provided with the H5 features two matched unidirectional condenser microphones set at a 90 degree angle and housed within an advanced shockmount to minimize vibration and handling noise, making it ideal for location videography and live broadcast/podcast applications.

SGH-6 Mic Capsule. The SGH-6 Shotgun capsule adds a professional-quality hyperdirectional (that is, highly directional) microphone turning your H6 or H5 into the perfect audio recorder for anyone working in film, video or live theater, or for ENG (electronic news gathering) applications.

EXH-6 Mic Capsule. If you need more inputs, simply plug in the EXH-6 Dual XLR/TRS Combo capsule. It allows you to connect two additional discrete channels for external microphones, instruments, mixers or portable music players.

SSH-6 Mic Capsule. The SSH-6 mid-side stereo shotgun capsule includes a super-directional microphone for picking up sound in the center, as well as a bidirectional side mic for picking up sounds from the left and right. This allows you to record a fully mono-compatible stereo image—ideal for film, video, and television projects. For example, you can capture dialogue with the center mic, and then mix in the desired amount of environmental sound captured by the side mic directly on your Zoom recorder, or in postproduction. A hairy windscreen is included for reduction of wind noise.

The H6 offers four main inputs (1-4), plus two additional inputs (L, R) that are derived from whichever capsule (X/Y, MS, Shotgun, or Dual XLR/TRS Combo) is plugged into the unit. The supplied XYH-6 X/Y capsule also provides a secondary input for connecting an external mic- or line-level signal via a stereo 1/8″ Mic/Line In mini phone jack. When a connection is made to that jack, signal from the X/Y microphones is muted.

All four main H6 inputs (inputs 1-4) are combo connectors that can accept either XLR or 1/4″ balanced or unbalanced phone cables. They can handle both micand line-level signals, which means that you can connect either external microphones or line-level devices like mixers, portable music players, electronic keyboards, or electric guitars or basses with active electronics (passive electric guitars or basses can also be connected with the use of a mixer or effects device). Internal switching contacts automatically detect the circuit of choice.

Each of the six inputs (that is, 1-4 as well a L, R) has a dedicated gain control knob. In addition, the four main inputs and the EXH-6 capsule feature a -20dB pad, allowing you to prevent distortion even when high-level signals are introduced. In fact, with the use of the Pad switch, the H6 can input a signal 30dB louder and 14dB softer than any other Handy Recorder model. In addition, all capsules utilize higher voltage preamps (5 volts instead of the more commonly used 3 volts) for distortion free recording, even at high volumes. A built-in instrumentation amp allows signals to be transmitted with minimal noise even when long cables are used.

If you’re using high-quality condenser (powered) microphones with the H6, no problem—a simple menu option allows the unit to provide Phantom Power (either +12, +24, or +48 volts) to any or all of the main inputs (inputs 1-4). Inexpensive condenser microphones requiring Plug-In Power (2.5 volts) can be connected to the X/Y capsule’s stereo 1/8″ Line In jack.

The H6 Line Out is an unbalanced stereo 1/8″ phone jack, located on the bottom of the H6, beneath the LCD display. It carries the analog stereo output signal, as determined by the H6’s internal mixer.

The H6 USB port, located on the side panel to the right of the LCD display, provides a digital output of either a stereo mix or the six individual input signals, depending upon the setting of the “Audio Interface” function in the USB menu.

In addition, the H6 provides a headphone output with a dedicated volume control, located on the side panel to the left of the LCD display. Connect your headphones to the stereo 1/8″ mini phone jack for private monitoring of the stereo output signal.

The H6 even has a built-in speaker, located on the underside of the unit, for fast monophonic monitoring of the recorded signal without the need to make any connections whatsoever. This speaker is automatically disconnected when connection is made to either the Line Out or Headphone output.

The X/Y miking technique is optimal when you want to cover a wide area and still capture sound sources in the center with clarity and definition, making it great for all types of live stereo recording.

The supplied XYH-6 X/Y capsule adds two matched high-quality unidirectional microphones to your H6. This kind of microphone is most sensitive to signal coming from directly in front, and less sensitive to signal coming from behind or from the sides; in technical terms, they are said to utilize a cardioid polar pattern. These mics have the largest diaphragm size (0.579″ = 14.6mm) of any ever available on a portable recorder.

As shown in this illustration, the angle of the two mics can easily be changed from 90 degrees to 120 degrees for a wider stereo image (US Patent 8184815).

Playing back stereo X/Y tracks in mono results in a fuller sound than you would get with one microphone, but if mono compatibility is critical (for example, in television production), the Mid-Side (MS) mic technique can be a better choice.

Enter MS (“Mid-Side”) recording: an incredible technique that allows you to actually adjust the width of the stereo image after it has been recorded, making it especially useful for film, video and television projects. Sound like magic? Read on.

Although the H6’s supplied MSH-6 MS capsule appears to be just one microphone, it actually contains two mic elements, positioned directly on top of one another. One of the microphones inside the MSH-6 is unidirectional (that is, it is mostly sensitive to signal coming from directly in front, and less sensitive to signal coming from behind or from the sides) while the other is bi-directional (that is, it is mostly sensitive to signals coming from directly in front and directly behind, and less sensitive to signal coming from the sides).

The basic concept behind MS recording is that the Mid microphone picks up signal coming from the center, while the Side microphone creates ambience and directionality by adding or subtracting information from either side.

The Mid-Side technique works well whenever you need a variable amount of room sound. It can also be used for studio recording, and its convenience and flexibility make it a good option for rehearsal and live concert recording as well.

Our optional SGH-6 shotgun capsule adds a professional-quality hyper-directional (that is, highly directional) microphone to the H6, making it the perfect audio recorder for anyone working in film, video or live theater, or for ENG (electronic news gathering) applications.

Shotgun microphones are often used when you cannot position a microphone directly in front of a sound source. For example, if someone is speaking in front of a video camera and you don’t want them to hold an interview microphone up to their mouth, the solution is to use an off-screen shotgun mic.

If you need more inputs, simply plug in the optional EXH-6 Dual XLR/TRS Combo capsule. It allows you to connect up to six discrete signals from external microphones, instruments, mixers or portable music players, making the H6 the smallest six-track recorder on the planet!

The H6 is perfect for use on a video or DSLR camera. The remarkable depth and clarity of sound achieved by the stereo mic design brings additional realism and depth to HD video. By attaching the H6 to a DSLR video camera with an optional hot shoe mount (HS-1), you can create a professional video system with high-quality sound.

We now also offer a special accessory package for H6 Handy Recorder. The APH-6 package includes a windscreen that provides a professional level of wind noise prevention, a remote controller with REC, PLAY, STOP and other functions and an USB-type AC power adapter.

The H6 can record audio in two different basic file types: WAV and MP3. The main difference between the two is that WAV files are uncompressed; that is, they contain all the recorded data without any “bits” (digital words) being removed. Thus, they provide full fidelity without compromise. The H6 can record up to six monophonic WAV files (or up to three stereo files) in any of the following formats:

All WAV files recorded by the H6 are automatically time-stamped, making them fully compatible with the Broadcast Wave Format (BWF); in other words, they are “BWF-compliant.” This is especially important when recording audio for video, because it allows the audio to be precisely synchronized with the onscreen action in postproduction.

The interview started a splitsecond before you were ready. The conductor lifted his baton just as you were checking a cable. The talent went back on-air a moment too soon.

No problem… as long as you’re using the H6. Its Pre-record function automatically keeps the H6 silently but continuously recording in the background, all the time. Then, when you hit the RECORD button, it keeps the previous two seconds and appends it to the beginning of the file. It’s as if the H6 had started recording two seconds before you actually got to hit the button.

Backup-record—the ultimate safety net. When turned on during the recording of WAV files, the H6 automatically records a duplicate set of L/R tracks, but with 12dB less input gain. Even if the original L/R track is distorted, chances are the Backup version is fine.

The Auto-record function allows the H6 to automatically start recording when a certain level of sound is detected. When turned ON and the RECORD button is pressed, the H6 doesn’t immediately start recording; instead, it goes into a standby mode; as soon as an incoming signal exceeds the Start Level you’ve set, recording begins.

The H6 provides an arsenal of effects that allows you to add polish to your recordings and compensate for any problems or limitations in the acoustics of the recording environment.

A low-cut filter allows you to remove signal below a certain user-designated frequency (called a cutoff frequency). This is useful for eliminating pops, wind noise, blowing, transmitted resonance from an onstage mic stand and other kinds of low frequency rumble.

Compression and limiting compensate for fluctuations in level; in essence, they act like an automatic volume control, reducing the level of louder sounds (that is, the sounds below a threshold point). The main difference between the two is that a limiter reduces louder sounds more severely.

The H6 allows you to choose from three compressor settings and three limiter settings. The two “General” settings (Comp1 and Limiter1) are all-purpose settings that will work well on most kinds of program material. The Comp2 and Comp3 presets are optimized for use with vocals and drums, respectively, while the Limiter2 and Limiter3 presets are optimized for use in live concert recording and small room “studio” recording, respectively.

The H6 requires just 4 AA batteries—either alkaline or rechargeable NiMH—for power. Battery life (when using alkaline batteries) is more than 20 hours, even during continuous recording. An optional AD-17 AC adapter (included in the APH-6 Accessory Pack) allows you to power the H6 from any standard wall socket.

The H6 records directly to SD cards. It supports standard SD cards as well as the newer SDHC and SDXC cards, up to 128 gigabytes, making it capable of accessing massive data storage.

The H6’s USB port allows it to send and receive digital data. Connect the H6 to your laptop or desktop computer via USB, launch your favorite DAW or use the included Cubase LE , and start laying down your tracks. You can even connect the H6 to an iPad (camera connection kit required).

When the H6 is set to “Stereo Mix” in the USB menu, it acts as a 2-input / 2-output interface; when set to “Multi Track,” it acts as a 6-input / 2-output interface. The H6’s onboard INPUT&OUTPUT mixer allows you to create a custom stereo or six-track mix for output via USB, with independent control over the level and panning of each track, as well as access to effects like low-cut filtering, compression and limiting. In addition, signal that is input to the H6 can be monitored directly before it passes through the connected computer or iPad, enabling monitoring with zero latency (that is, without any delay). There’s also a handy Loop Back mode that allows you to blend stereo signal coming from the computer or iPad with signal coming into the H6 inputs, useful for live streaming via the Internet or for adding narration to a musical backing track.

The illustration shows how you might typically use the H6 for live concert recording. Here, the XYH-6 X/Y capsule is being used to capture the onstage performance in stereo. In addition, a stereo feed from the mixer is being sent to inputs 1 and 2 in order to record the board sound, and a pair of external mics is connected to inputs 3 and 4 to capture the audience sound.

In the example shown in the illustration , the MSH-6 MS capsule is being used to capture the main sound source in stereo, with external boom and lavalier mics (connected to Inputs 1 and 2) focused on the talent providing narration. Another pair of external mics is connected to inputs 3 and 4 and are being used to record a second stereo image, this one of the other performers in the scene. By using the MS capsule, you can then use the H6’s onboard MS decoder to adjust the width of the main stereo image in post-production.

The H6 is the perfect audio companion for anyone doing ENG work, especially when it is used with the optional SGH-6 Shotgun mic capsule, as shown in this example. Here, the SGH-6 is being used to capture the news event itself, recorded on the L/R track. Because shotgun mics have a narrower focus (sometimes referred to as more “reach”) than an average microphone, the SGH-6 is the perfect choice when covering late-breaking news at a distance. In addition, the SGH-6 does a great job of picking up the frequencies produced by the human voice.

Two external handheld mics for the interviewer and interview subject are plugged into Inputs 1 and 3, with backup external lavaliers plugged into Inputs 2 and 4. The H6’s onboard effects and powerful mixing functions make it the ideal field mixer; the low-cut filter can be used to reduce wind noise, and the compressor/limiter can be used to condense the dynamic range and thus make the audio more television-friendly. The six recorded tracks can then be mixed down internally to a stereo MP3 file for microwave or satellite transmission to the broadcast facility.

Want to record your band as they rehearse? No problem, especially if you plug in the optional EXH-6 Dual XLR/TRS capsule, which allows six discrete mic- or line-level connections to be made to your H6.

In this example, a stereo submix of the mics covering the drum kit is being fed from the PA mixer to the L/R inputs of the H6 via the EXH-6. The four main inputs are used as follows: the lead singer’s mic is connected to Input 1; a microphone positioned in front of the guitar amp is connected to Input 2; a direct signal from the bass player’s active electric bass is connected to Input 3; and an electronic keyboard is connected to Input 4. Thus, each instrument and vocal is receiving a track of its own (or, in the case of the drums, two tracks).

Being able to spread your instruments and vocals over six tracks instead of four gives you an extra degree of flexibility that other handy recorders cannot provide. As you listen back to your song, new musical ideas may spring to mind, and that’s where the H6’s powerful overdubbing function comes into play, because it allows any of the tracks to be redone—up to 99 different takes—meaning that you can reshape your song after the fact.

•The SD, SDHC and SDXC logos are trademarks. •Steinberg and Cubase are registered trademarks of Steinberg Media Technologies GmbH. •The use of MPEG Layer-3 audio compression technology is licensed from Fraunhofer IIS and Sisvel SpA. •Windows®, Windows® 8, Windows® 7, Windows Vista® and Windows® XP are trademarks or registered trademarks of Microsoft Corporation. •Macintosh, Mac OS and iPad are trademarks or registered trademarks of Apple Inc. •Unauthorized recording of concerts, lectures and other public performances is prohibited by law. •All other trademarks,product names, and company names mentioned in this documentation are the property of their respective owners. •Allfeatures and specifications are subject to change without notice.

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Here at Zoom we"ve been building innovative products for the past thirty years. But with the revolutionary H6 six-track recorder, the bar is raised further still. Four interchangeable input capsules – X/Y, MS, Shotgun, and Dual XLR/TRS Combo – make the H6 the ultimate chameleon of the audio world, and its advanced preamps make it the best-sounding one too. Whatever your application – live recording, professional film/video work, live broadcast or electronic news gathering – the H6 can handle it with ease.

Do more than just record the show: Document the experience. Use the X/Y capsule to capture the overall sound in stereo, then use the other four inputs for a direct feed from the mixing board, or for external spot mics to pick up specific instruments and the room sound. With the H6, you can relive that great performance night after night.

Whether you slide it onto your camera strap or attach it directly to your DSLR with our Hot Shoe mount, the H6 is the essential audio recorder for location videography. Its supplied MSH-6 mic capsule and onboard MS decoding, plus the ability to record up to 6 tracks simultaneously, gives you plenty of options in post-production.

Extend your range with the optional SGH-6 Shotgun mic. Get every word of that headline-making interview. Capture breaking news with maximum impact, then mix and prepare the audio for broadcast while still in the field. With the H6, you can do onsite reporting that really resonates.

Plug in the optional EXH-6 Dual XLR/TRS capsule and your H6 becomes a personal 6-track studio with six discrete line- or mic-level inputs, each with its own volume control and pad. Record and overdub up to 99 takes in high-resolution audio, then mix down to a stereo MP3 for posting to your favorite website. With the H6, the road from great idea to perfect track just got a lot shorter.

The H6 offers four main inputs (1-4), plus two additional inputs (L, R) that are derived from whichever capsule (X/Y, MS, Shotgun, or Dual XLR/TRS Combo) is plugged into the unit. The supplied XYH-6 X/Y capsule also provides a secondary input for connecting an external mic- or line-level signal via a stereo ?” Mic/Line In mini phone jack. When a connection is made to that jack, signal from the X/Y microphones is muted.

All four main H6 inputs (inputs 1-4) are combo connectors that can accept either XLR or ¼” balanced or unbalanced phone cables. They can handle both mic- and line-level signals, which means that you can connect either external microphones or line-level devices like mixers, portable music players, electronic keyboards, or electric guitars or basses with active electronics (passive electric guitars or basses can also be connected with the use of a mixer or effects device). Internal switching contacts automatically detect the circuit of choice.

Each of the six inputs (that is, 1-4 as well L, R) have a dedicated gain control knob as well as a -20dB pad, allowing you to prevent distortion even when high-level signals are introduced. In fact, with the use of the Pad switch, the H6 can input a signal 30dB louder and 14dB softer than any other Handy Recorder model. In addition, all capsules utilize higher voltage preamps (5 volts instead of the more commonly used 3 volts) for distortion free recording, even at high volumes. A built-in instrumentation amp allows signals to be transmitted with minimal noise even when long cables are used.

If you’re using high-quality condenser (powered) microphones with the H6, no problem—a simple menu option allows the unit to provide Phantom Power (either +12, +24, or +48 volts) to any or all of the main inputs (inputs 1-4). Inexpensive condenser microphones requiring Plug-In Power (2.5 volts) can be connected to the X/Y capsule’s stereo 1/8” Line In jack.

The H6 Line Out is an unbalanced stereo 1/8” phone jack, located on the bottom of the H6, beneath the LCD display. It carries the analog stereo output signal, as determined by the H6’s internal mixer.

The H6 USB port, located on the side panel to the right of the LCD display, provides a digital output of either a stereo mix or the six individual input signals, depending upon the setting of the “Audio Interface” function in the USB menu.

In addition, the H6 provides a headphone output with a dedicated volume control, located on the side panel to the left of the LCD display. Connect your headphones to its stereo 1/8” mini phone jack for private monitoring of the stereo output signal.

The H6 even has a built-in speaker, located on the underside of the unit, for fast monophonic monitoring of the recorded signal without the need to make any connections whatsoever. This speaker is automatically disconnected when connection is made to either the Line Out or Headphone output.

The interview started a split-second before you were ready. The conductor lifted his baton just as you were checking a cable. The talent went back on-air a moment too soon.

No problem… as long as you’re using the H6. Its Pre-Record function automatically keeps the H6 silently but continuously recording in the background, all the time. Then, when you hit the RECORD button, it keeps the previous two seconds and appends it to the beginning of the file. It’s as if the H6 had started recording two seconds before you actually got to hit the button.

Backup-Record—the ultimate safety net. When turned on during the recording of WAV files, the H6 automatically records a duplicate set of L/R tracks, but with 12dB less input gain. Even if the original L/R track is distorted, chances are the Backup version is fine.

The Auto-Record function allows the H6 to automatically start recording when a certain level of sound is detected. When turned ON and the RECORD button is pressed, the H6 doesn’t immediately start recording; instead, it goes into a standby mode; as soon as an incoming signal exceeds the Start Level you’ve set, recording begins.

The H6 provides an arsenal of effects that allows you to add polish to your recordings and compensate for any problems or limitations in the acoustics of the recording environment.

The H6 allows you to choose from three compressor settings and three limiter settings. The two “General” settings (Comp1 and Limiter1) are all-purpose settings that will work well on most kinds of program material. The Comp2 and Comp3 presets are optimized for use with vocals and drums, respectively, while the Limiter2 and Limiter3 presets are optimized for use in live concert recording and small room “studio” recording, respectively.

Compression and limiting compensate for fluctuations in level; in essence, they act like an automatic volume control, reducing the level of louder sounds (that is, the sounds above a threshold point). The main difference between the two is that a limiter reduces louder sounds more severely.

A low-cut filter allows you to remove signal below a certain user-designated frequency (called a cutoff frequency). This is useful for eliminating pops, wind noise, blowing, transmitted resonance from an onstage mic stand and other kinds of low frequency rumble.

The H6 requires just 4 AA batteries—either alkaline or rechargeable NiMH—for power. Battery life (when using alkaline batteries) is more than 20 hours, even during continuous recording. An optional AD-17 AC adapter (included in the APH-6 Accessory Pack) allows you to power the H6 from any standard wall socket.

The H6 records directly to SD cards. It supports standard SD cards as well as the newer SDHC and SDXC cards, up to 128 gigabytes, making it capable of accessing massive data storage. A handy "SD Card Remain" function allows you to see at a glance how much space remains on the currently inserted card, both in gigabytes and percentage.SUPPORTED FILE TYPES

The H6 can record audio in two different basic file types: WAV and MP3. The main difference between the two is that WAV files are uncompressed; that is, they contain all the recorded data without any “bits” (digital words) being removed. Thus, they provide full fidelity without compromise.

All WAV files recorded by the H6 are automatically time-stamped, making them fully compatible with the Broadcast Wave Format (BWF); in other words, they are “BWF-compliant.” This is especially important when recording audio for video, because it allows the audio to be precisely synchronized with the onscreen action in post-production.

Note that when the MP3 file type is selected, the H6 only records in stereo; if you want to record in multitrack, you must select a WAV file type. The H6’s internal mixdown function allows multitrack WAV projects to be easily reduced down to stereo MP3 (or WAV), with independent control over each track’s level, panning and pitch.THE H6 AS AN AUDIO INTERFACE

The H6’s USB port allows it to send and receive digital data. Connect the H6 to your laptop or desktop computer via USB, launch your favorite DAW or use the included Cubase LE software, and start laying down your tracks. You can even connect the H6 to an iPad (camera connection kit required).

When the H6 is set to “Stereo Mix” in the USB menu, it acts as a 2-input / 2-output interface; when set to “Multi Track,” it acts as a 6-input / 2-output interface. The H6’s onboard INPUT&OUTPUT mixer allows you to create a custom stereo or six-track mix for output via USB, with independent control over the level and panning of each track, as well as access to effects like low-cut filtering, compression and limiting. In addition, signal that is input to the H6 can be monitored directly before it passes through the connected computer or iPad for zero latency (that is, without any delay). There’s also a handy Loop Back mode that allows you to blend stereo signal coming from the computer or iPad with signal coming into the H6 inputs, useful for live streaming via the Internet or for adding narration to a musical backing track.H6 Features at a glance

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.

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.

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.

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.

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Zoom"s flagship H6 is the most versatile portable recorder. It utilises a system of four interchangeable input capsules that can be swapped out easily as the lenses of a camera and comes with both X/Y and Mid-Side stereo mics.

Excellent for live recording as well as studio-quality music production, the H6 offers four mic/line inputs and six tracks of simulataneous recording.

Custom designed for the F4 and F8 MultiTrack Field Recorders, the BCF-8 battery case conveniently allows you to load up eight AA batteries to have at the ready for easy swap-in/swap-out.

Power up your Zoom F8 or F4 Multi-Track Field Recorder with the Zoom DHC-1. The DHC-1 is a DC to HIROSE adapter that connects to a Zoom AD-19 power adapter, allowing you to to provide AC/DC power to your Zoom F8 or F4.

Protect your Zoom Q2n with the Zoom LHQ-2n, a small accessory pack that helps you make the most of your favorite portable camera. Includes Q2n lens cap and Q2n lens hood.

Shotgun Microphone Capsule for H5 and H6 Handy Recorders, Q8 Handy Video Recorder, U-44 Handy Audio Interface, as well as F1, F4, F8 and F8n Field Recorders

Mid-side stereo shotgun mic capsule for H5 and H6 Handy Recorders, Q8 Handy Video Recorder, U-44 Handy Audio Interface, as well as F1, F4, F8 and F8n MultiTrack Field Recorders

Stereo Microphone Capsule for the Zoom H5 and H6 Handy Recorders, Q8 Handy Video Recorder, U-44 Handy Audio Interface, as well as F4 and F8 MultiTrack Field Recorders