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Zero Handling noise thanks to the material the unit is made, XLRs just make the job with no complaints at all. Two mic/line inputs with XLR/TRS combo connectors, each with selectable phantom power and -20 dB pad Multichannel and stereo USB audio interface for PC, Mac and iPad (requires optional camera connection kit) Two mic/line inputs with XLR/TRS combo connectors, each with selectable phantom power and -20dB pad You can change the speed or pitch of recordings in the Zoom itself; there’s a metronome and even a built-in guitar/bass tuner. USB connection
I read manuals before using a product, but I was slightly confused by the multi or stereo recording functionality - however, following the instructions fixed this immediately. Overall I'm finding it easier to work with than the H4N - press the record button and it records! Guessing that was something Zoom listened to customers on. The onboard mic isn't that great but is definitely workable. Zoom’s H4 has been hugely popular, and with the H5 it seems its few shortcomings have been ironed out. Uses a system of interchangeable input capsules that can be swapped out as easily as the lens of a camera Two mic/line inputs with XLR/TRS combo connectors, each with selectable phantom power and -20 dB padThere’s a range of audio input settings that can be applied – a compressor/limiter handy for voiceovers, a low-cut filter, phantom/plug-in power for microphones that need it. Note that these are not sensitive enough for direct input of guitar or bass; you’ll need a mixer or effects unit to sufficiently raise their levels. The gain dials are also easily accessible – the mike capsules have their own controls (the X-Y pair has a single stereo volume dial for the L-R channels), while the separate little gain dials for channels 1 and 2 sit below the display. All these dials sit under sturdy steel bumper bars, partly for protection but also for practicality – it’s far easier to smoothly adjust the volume with this arrangement. the MSH-6 Mid-Side capsule, with its bulbous hemisphere facing directly forwards, capturing audio from directly ahead. Less obvious is its second microphone, which collects ambient information from either side (hence the name MS, for Mid-Side). The level at which this side information is added or subtracted from the front microphone can be adjusted after the recording in post-production Possibility to switch over different capsules makes this unit worth the price both really, really durable and versatile.
Gain control knob on each input, with protective 'roll-bar' that prevents accidental movement during handlingwhen you push the gain dial on a XLR input over 6~7, self noise of preamps will become apparent (can be mitigated if you use something like a Fethead/Cloudlifter) THAT SAID, the recording quality on the H5 is remarkably higher than the previous brothers, the sound is just more naturally "in your face" and easily verges on a studio-like sound. The modular approach greatly increases the unit’s flexibility. I’ve used my old Zoom H4 for location recording and it worked well, but I think the H5, like the H6, has taken the versatility to a new level. For film work in particular, the addition of the shotgun and ability to record a couple of lavaliers at the same time, all with different levels, will be welcome. Zero-handling noise is an important feature and here is your friend. This is not granted on all devices on the market. the SHG-6 shotgun mike capsule, which is quite a small shotgun, good for a head-and-shoulders interviewee filmed at two or three metres, less so for distant zooming in a noisy environment
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