Description

THE ZOOM H4N The gold standard in portable recording The H4n Handy Recorder has long been a favorite of audio and video aficionados everywhere. It offers four tracks of simultaneous recording, a built-in X/Y stereo microphone, and advanced features such as time stamping, phantom power and mid-side (MS) decoding, as well as onboard multi-effects and guitar/bass amp modeling. Rugged, lightweight and versatile, the H4n is a great audio companion for everything from live concert recording to location videography to music-making. Concert and rehearsal recording has never been easier The H4n is a great choice for live recording. Its built-in X/Y microphone allows you to record natural-sounding stereo with a strong center image. In addition, there are two combo XLR/TRS input jacks with phantom power, enabling you to connect a wide variety of external microphones or line-level signals—even instruments such as guitar and bass. Audio that’s every bit as good as your video DSLRs deliver excellent quality video but limited audio capability. The H4n fills that gap. It can be connected to any standard tripod, or you can use our optional Hot Shoe adapter to mount it directly to your camera. Its onboard X/Y microphone and support for MS recording give you plenty of options in postproduction, making the H4n an invaluable addition to any location shoot. Compose, record and craft your music The H4n transforms any environment into a home studio. Its ability to record up to four tracks simultaneously, along with powerful overdubbing and punch-in features, allows you to do high-quality recording—up to 24-bit/96kHz—wherever you go. Onboard effects such as compression, limiting, reverb, and guitar and bass amp modeling enable you to turn your musical creations into studio-quality recordings. Four-track recordings can easily be mixed down to stereo or mono, with independent control over each track’s level and panning, and you can even convert your finished song to an MP3 file for emailing and posting to your favorite social networking site. The Ins and Outs Inputs The H4n provides dual inputs, both of which are combo connectors that can accept either XLR or ¼” balanced or unbalanced phone cables. They can handle both mic- and line-level signals as well as instrument-level signals from electric guitars or basses. Phantom Power of +24 or +48 volts can be applied to both inputs. In addition, there’s a secondary input for connecting an external mic- or line-level signal via a stereo ?” Mic/Line In mini phone jack, including condenser microphones requiring 2.5 volts of Plug-In Power. Outputs The H4n Line/Phone Out is a stereo ?” phone jack with dedicated volume control. Headphones can be connected to this jack for private monitoring of the input or recorded signal. There’s also a built-in speaker on the back panel for fast monophonic monitoring of the recorded signal without the need to make any connections. The H4n USB port provides a digital output of the stereo mix and allows data to be sent to and from computer editing software such as the supplied Cubase LE. USB also allows the H4n to be used as a 2-in/2-out audio interface and enables the installation of software updates from the Zoom website. Pre-Record and Auto-Record Pre-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 an H4n. Its Pre-record function automatically keeps the H4n silently but continuously recording in the background, all the time, keeping the previous two seconds* when you hit RECORD. *One second when recording at a 96 kHz sampling rate in 4CH mode. Auto-record Auto-Record allows the H4n to automatically start recording when a certain level of sound is detected. As soon as an incoming signal exceeds the Start Level you’ve set, recording begins. There’s an equivalent Auto-record Stop function, too; as soon as incoming signal drops below the Stop Level you’ve set, recording ends. Onboard effects The H4n provides an arsenal of effects that allow you to add polish to your recordings and compensate for any problems or limitations in the acoustics of the recording environment. Compression and limiting compensate for fluctuations in level, acting like an automatic volume control. 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 user-designated frequency. This is useful for eliminating pops, wind noise, blowing, and other kinds of low frequency rumble such as transmitted resonance from an onstage mic stand. There’s also an onboard metronome and chromatic / guitar / bass tuner, as well as dozens of guitar and bass effects, including compression, delay/reverb, modulation, and amp models, which can be chained together to create powerful multi-effects. In addition, playback can be looped and the playback speed varied without pitch change (or vice versa) to facilitate phrase training. GENERAL Number of simultaneous recording tracks: 2 (STEREO mode), 4 (4CH mode), 2 (MTR mode) Number of simultaneous playback tracks: 2 (STEREO mode), 4 (4CH mode), 4 (MTR mode) Recording time 4GB (SDHC): Approx. 380 minutes (WAV 44.1 kHz/16 bit stereo track) Approx. 68 hours (MP3 44.1 kHz/128kbps stereo track) * Recording times are approximations. Actual times may differ according to recording conditions. Maximum number of simultaneous recording files size: 2GB Projects: 1000/card Locate function: Hours/Minutes/Seconds/Milliseconds Other functions: Punch-in/out, Bounce, A-B repeat Effects modules: 2 STEREO / 4CH Mode: LO CUT, COMP/LIMITER MTR Mode : PRE AMP module, EFX module Types: 50 Patches: 60 Tuners: Chromatic, Guitar, Bass, Open A/D/E/G, DADGAD Metronome sound sources: 5 Variable beat: 1/4 – 8/4, 6/8, unaccentuated Tempo: 40.0 – 250.0 BPM A/D conversion: 24 bit × 128 oversampling D/A conversion: 24 bit × 128 oversampling Recording media: SD card (16MB – 2GB), SDHC card (4GB – 32GB) Display: 128 x 64 dots Full-dot backlit LCD DATA TYPE – WAV FORMAT (RECORD/PLAY) Quantization: 16/24 bit Sampling frequency: 44.1 / 48 / 96 kHz DATA TYPE – MP3 FORMAT (RECORDING) Bit rate: 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256, 320 kbps, VBR Sampling frequency: 44.1 kHz DATA TYPE – MP3 FORMAT (PLAYBACK) Bit rate: 48, 56, 64, 80, 96, 112, 128, 160, 192, 224, 256, 320 kbps, VBR Sampling frequency: 44.1 / 48 kHz INPUTS Input [1] [2]: XLR (balanced input) / standard phone (unbalanced input) combo jack Input impedance: (Using balanced input) 1 kO balanced, pin 2 hot (Using unbalanced input) 480 kO unbalanced Input level: (Using balanced input) -10 dBm to -42 dBm (Using unbalanced input) +2 dBm to -32 dBm Built-in stereo mic: Unidirectional condenser microphone Gain: +7 dB to +47 dB External mic: Mini stereo phone jack Input impedance: 2 kO Input level: -7 dBm to -47 dBm OUTPUTS Line/phone: LINE Output load impedance: 10 kO or more Rated output level: -10 dBm PHONE: 20 mW+20 mW (into 32-O load) Monaural speaker: 400 mW 8 O Phantom power: 48 V, 24 V, OFF USB: USB 2.0 High Speed Mass Storage Class operation, Audio interface operation (USB functions can be operated by USB bus power) Power requirements: DC 5 V 1A AC from AC adapter ( ZOOM AD-14) Batteries: IEC R6 ( size AA ) x 2 Continuous recording time: 6 hours (STEREO/4CH/MTR mode) 11 hours (STAMINA mode) Dimensions: 73 (W) × 156.3 (D) × 35 (H) mm Weight: 280 g * 0 dBm = 0.755 Vrms * Design and specifications subject to change without notice. Two paths to perfect stereo The H4n provides two different ways of recording great-sounding stereo. The X/Y technique is an excellent way to cover a wide area while still capturing sound sources in the center with clarity and definition, making it ideal for all types of live stereo recording. The H4n’s built-in X/Y microphone provides two matched unidirectional microphones. The angle of the two can easily be changed from 90 degrees for a tightly focused stereo image to 120 degrees for a wider image. (US Patent 8184815) The H4n also provides an onboard MS decoder so you can do MS (“Mid-Side”) recording using external microphones. This is an incredible technique that allows you to adjust the width of the stereo image after it has been recorded, while maintaining perfect mono compatibility, making it especially useful for film, video and television projects.