![]() Internal mono speaker for low-quality confidence playback.(Although there is no physical knob for headphone volume, after you plug in your headphones, access is almost always available in the upper right corner of the touchscreen.) 3.5 mm stereo TRS unbalanced headphone output with adjustable output volume via the touchscreen.3.5 mm stereo TRS unbalanced line output with adjustable output level via the touchscreen, and even a tone generator to facilitate matching levels when feeding a camcorder’s audio input. ![]() Many other capsules are available (or coming soon) from Zoom. This 3.5 mm input overrides the pair of unidirectional mics and shares the knob to control control input gain of that source. The H8 works with the included XYH-6 microphone (pair of unidirectional mics, usable as stereo with 90 or 120 degrees, or dual mono) which also has a 3.5 mm stereo unbalanced input for unbalanced electret mics or unbalanced dynamic mics. Proprietary Zoom Capsule System 2.0 connector, which can add up to 4 additional audio channels, for a potential total of 10 with the optional EXH-8 module (each with an XLR balanced input, with switchable phantom power).Each one has switchable phantom power (for condenser mics or external pre-preamps… although you’ll probably never need one of those with the H8 given how clean and powerful the H8’s preamps are) and a switchable -20 dB pad for very loud sources. 6 balanced XLR inputs, of which 2 are combo jacks for 1/4” for unbalanced instrument or line input.Of course, I love that the H8 can record proper 48 kHz sampling frequency and 24-bit resolution (see and also my 2015 article Understanding 24-bit vs 16-bit audio production & distribution) in addition to higher sampling frequencies like 96 kHz (which -for the human voice- I can only justify if you plan to use slow motion audio in post) and lower ones that I don’t recommend at all, no matter what, not even for recording audio for virtual PBX/IVR interactive telephony production, as explained mathematically at. That said, as soon as you move any physical gain knob, that potentiometer again jumps back to match and be controlled by the knob. When you do that, the physical knobs are not motorized to match the new setting and therefore (if you use the touchscreen interface to adjust gain a a particular input), the current setting on the knob will no longer reflect the current gain setting. However, we must be aware that these knobs control software potentiometers (“pots”) which can be overridden by the touchscreen interface. I also like the fact the they have numbers painted on the knobs. I like the fact that those knobs represent the full range, will a full stop at the minimum and maximum position (unlike some devices whose knobs spin infinitely, even after surpassing the minimum or maximum gain). My test recording is ahead in this article.Īt its core, the Zoom H8 is a multitrack recorder with multiple input sources and six (6) mechanical knobs to control the input gain of each individual source. The above multilingual video was produced by Zoom Europe, not by me. I am not a musician and will cover the musical production features and capabilities very superficially. Spotify exclusives), public web or podcasting) as well as audio for video, TV and film production. My H8 coverage is primarily for audio/radio documentary & storytelling (however it’s distributed, be it on air AM/FM/satellite (i.e. I will also explain its use in different production scenarios, and which very inexpensive accessories I would recommend adding to make it stronger in some of those. ![]() I will cover each function, feature, benefit and performance. ![]() As you will see ahead, there is much to like and very little to criticize about the H8 in its ≈US$400 price category. Here is my detailed review on the recently released Zoom H8 multitrack handheld recorder.
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