Zoom H6 Six Track RecorderZoom
Here at Zoom we've been building innovative, great-sounding products for the past thirty years. But with the revolutionary H6—the most versatile portable recorder ever—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, or broadcast ENG (electronic news gathering), etc.—the H6 can han
dle it with ease.
XYH-6 X/Y Capsule
A little X, a little Y, a whole lotta stereo. 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 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.
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.
MSH-6 MS 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. Sound like magic? Read on.
The MSH-6 comes standard with the H6 and can be used with the H5.
Although the 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. Another benefit is that it provides total mono compatibility, making it an excellent choice for stereo recordings that may eventually be played back in mono, such as TV broadcasts.
XYH-5 X/Y Capsule
Louder. Closer. Cleaner.
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. The design of the XYH-5 also allows it to handle extremely loud sounds, making it perfect for use at live rock concerts and for electronic newsgathering. The XYH-5 can also be used with the H6.
SGH-6 Shotgun 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.
A “shotgun” is a long, cylindrical microphone which excels at picking up sounds in front of it while rejecting sounds to the sides and rear. 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.
Shotgun mics have a narrower focus (sometimes referred to as more "reach") than an average microphone. However, shotgun mics are not the audio equivalent of a photographic telephoto lens. Even though they do an above-average job of picking up sounds that originate from a short distance away, they always sound better when they’re physically close to the sound source. That’s why whenever you use the SGH-6 shotgun capsule, you should always strive to get as close as possible to the sound source, which often means hovering right at the edge of the frame of a shot.
EXH-6 Dual XLR/TRS Combo Capsule
Need more inputs?
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.
Both EXH-6 inputs are combo jacks that accept either XLR or ¼" balanced (TRS) or unbalanced (TS) connectors. They can handle both mic- and line-level signals, which means that you can connect either 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 EXH-6 input offers a dedicated analog gain control knob as well as a -20dB pad that allows you to prevent distortion even when high-level signals are introduced; in fact, with the use of the Pad switch, the H6 can input 30dB louder signal and 14dB softer signal than any other Handy Recorder model. In addition, a built-in instrumentation amp allows signals to be transmitted with minimal noise even when long cables are used.
The Ins and Outs
Making connections more of what you need
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 ⅛” 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.
Never miss a take Pre-Record, Backup-Record, and Auto-Record
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.
You can listen to either set of tracks simply by going to the Backup File option in the PROJECT menu. When turned OFF, you’ll hear the original L/R tracks; when turned ON, you’ll hear the lower-level Backup tracks instead. Pick the one you prefer and use it as your L/R master. Bacon saved.
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.
There’s an equivalent Auto-Record Stop function, too. When turned ON, as soon as incoming signal drops below the Stop Level you’ve set, recording ends.
It’s all about control. 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.
In addition, there’s an onboard metronome and chromatic / guitar / bass tuner—both handy tools when recording musical content.
Battery life and Recording times
Time is on your side.
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.
Live concert recording
Capture the performance on a whole new level.
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.
Get the sound that completes the scene.
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.
Deliver the full story, down to the last detail.
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.
Make every chord, every note, every riff really sing.
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.
|SD card:||16MB to 2GB|
|SDHC card:||4GB to 32GB|
|SDXC card:||64GB to 128GB|
|XYH-6 X/Y mic||Mic type:||Unidirectional|
|Sensitivity:||-41 dB, 1 kHz at 1 Pa|
|Input gain:||-∞ to 46.5 dB|
|Max sound pressure input:||136 dB SPL|
|XYH-6 MIC/LINE IN||Connector:||1/8" stereo mini jack|
|Input level:||- ∞ to 46.5 dB|
|Input impedance:||2 k Ω|
|Plug-in power:||2.5V supported|
|MSH-6 MS mic||Mic types:||Unidirectional and bi-directional|
-37 dB, 1 kHz at 1 Pa (unidirectional)
-39 dB, 1 kHz at 1 Pa (bi-directional)
|Input gain:||-∞ to 42.5 dB|
|Max sound pressure input:||
120 dB SPL (unidirectional)
122 dB SPL (bi-directional)
|Shotgun mic (SGH-6)||Mic Type:||Unidirectional (mic unit x3)|
|Sensitivity:||–39 dB, 1 kHz at 1 Pa (each mic unit)|
|Input Gain:||–∞ to 50 dB|
|Maximum Sound Pressure Input:||122 dB SPL|
INPUTS 1 to 4
XLR / TRS combo jacks
(XLR: Pin 2 hot / TRS: Tip hot)
|MicInput gain: (PAD OFF)||-∞ to 55.5 dB|
|MicInput gain: (PAD ON)||-∞ to 35.5 dB|
|MicInput impedance:||6.8 k Ω|
|MicMax input level:||+22 dBu (PAD ON)|
+12V /+24V /+48V
(Phantom power can be turned on/off independently for Inputs 1 - 4)
|MicEquivalent Input Noise (EIN):||-120 dBu or less|
- AA size (LR6) battery x 4
- Alkaline or NiMH type
- AC adapter: AD-17 (DC5V/1A/USB-type) (optional)
- USB bus power
- Operation manual
- XYH-6 X/Y mic capsule
- MSH-6 MS mic capsule
- SD card (2 GB)
- AA size (LR6) battery x 4
- USB cable
- Sponge windscreen
- Cubase LE software