Recorder, Interface & Controller.By Tom FlintZoom have launched a sibling for their R16, adding a further eight tracks and some neat loop‑sampling and rhythm‑track features.The hardest thing about reviewing Zoom products is finding the space to document all their features. The R24, reviewed here, is a case in point: it functions as a 24‑track recorder, complete with mixing tools; it can be used as a multi‑channel computer audio interface and control surface; and it includes loop‑sampling facilities, drum samples and a sequencer for constructing rhythm tracks. It even has a pair of built‑in mics of its own, for when you have no external ones to hand. Other manufacturers must wonder how Zoom manage to include so much functionality without compromising quality or charging a fortune! Fortunately, many of the R24's features were covered in our review of its predecessor, the R16, and I'd recommend checking out that review (in SOS September 2009 or at ) in addition to reading this one.Both the R16 and R24 have evolved from Zoom's earlier hard‑disk multitrack recorders, which were essentially stand‑alone products providing an affordable way to record, mix, master and burn CDs, functioning as all‑in‑one portable alternatives to Windows or Apple‑based DAW systems. Few people now seem to want to work exclusively using hardware, so products like the R24 have taken on extra functionality, allowing them to work alongside computers, instead of acting as an alternative.
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If you're curious to know about the history, Zoom's first hybrid recorder/control surface was the HD16, reviewed in SOS August 2007 , though unlike the R16/24, this was not also an interface.But what about the present? As I implied earlier, the R24 is at heart an R16 with added features and various modifications. The most obvious change is the addition of a further bank of eight recording tracks (making a total of 24), which Zoom have accommodated by altering the functions of some of the hardware buttons.The second major addition is the rhythm‑creation and sampling facilities. Actually, it was more of a surprise to find them missing from the R16 than to see them included on the R24, as Zoom have almost always bundled a set of drum pads and sequencing/sampling tools with their recorders in the past. This time, though, instead of forming a separate section, the nine drum pads line up in a row at the foot of the nine 45mm faders. A 2GB USB stick also ships as standard, and contains 1.53GBs of loops produced by Big Fish Audio and jazz/fusion drummer Peter Erskine, which should be more than enough to help the budding composer get started.A further significant change is the provision of 48V phantom power to six of the eight XLR inputs (it was only available on two of the R16's inputs). It can be selected to power two, four or six inputs at once, catering for a variety of mic arrangements.
This should appeal if you're looking to record close‑miked acoustic ensembles or drum kits, for example.While they were making these alterations, Zoom also rethought the design of their screen, making it more of a square shape, presumably so that it better suits the on‑screen menus, which are often quite long. In addition, the R24 has been given some 'quick‑key' hardware black buttons, which line up with on‑screen options such as Record, Mute, Solo and Exit.Finally, for what it's worth, the R24 is now painted an attractive metallic silver, rather than white.There are eight inputs on the rear panel, all on combination XLR/Jack sockets, and six of these can provide phantom power.Everything else is very much as before. There are eight combination XLR/jack inputs, which feed a matching number of preamps, and are each served by four‑segment level meters and channel faders. One further stereo channel, with all the same features, is assigned as a master channel and controls click output, mixdowns and mix playback level. Recording is made to SD HC cards of up to 32GB capacity, although it's a rather more humble 1GB card that's supplied.Computer interfacing is via USB 2.0, and there are jack outputs for sending to speaker systems and headphones.
A well‑specified internal effects processor supplies insert and send effects, available in a variety of chain combinations. Naturally, there's a standard transport section, augmented by a set of buttons and a scroll wheel for navigating through songs, assigning markers and establishing loop points. Recordings can be 41.1 or 48kHz, at either 16 or 24‑bit, and its possible to record eight tracks simultaneously. At least that's true if a second machine is not sync'ed using the master/slave USB connection — in which case 16‑simultanous track recording is possible, which is impressive in a device like this. When used as an eight‑in/two‑out interface, recording to a computer, sample rates of up to 96kHz can be used, although the on‑board effects are out of action with settings above 44.1kHz.Most of the bread‑and‑butter functions of the R24 are straightforward and easy to recall without reference to the manual. Zoom have made a fair attempt at providing a hardware button for most functions, but have inevitably resorted to menus for the setup of system options, effects settings, EQ adjustment and, inevitably, rhythm‑track programming. In the past, I've found Zoom's products bafflingly hard to operate in some areas, and the R24 is no exception.
Instead of intuitively finding my way through all of its operations, I spent too much time asking myself various questions like 'Why can't I hear the drum pattern I just selected?” and 'Why don't the controls operate my DAW?” That said, altering levels, pan and EQ parameters on screen for each track was surprisingly easy — which is important, given that there are three banks, only one of which is mapped to the hardware controls at a time.In control‑surface mode, I had mixed experiences. I was able to control the transport, faders and channel mutes in FL Studio 9, using the Mackie Control template to represent the R24. However, despite numerous attempts, getting it to work with Sonar 8 proved impossible on my system, even with the Sonar driver plug‑in installed.Like the faders, the transport section, jog wheel and associated controls double up to provide DAW control over USB.Programming drum sequences on the R24 is a frustrating process at first, as it requires working with lists, patterns and data, all displayed on a small screen and in menus which extend off the page. Unfortunately, it just takes time to get used to working that way, but ultimately there is a fair amount that can be done.Traditionally minded composers will probably head to the sequencer and start editing patterns and chaining them to make a song structure.
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Even when sticking with a selection of the 400 preset patterns, control can still be exercised over the drum‑kit type and whether it is orientated for the listener or player. When dealing with more complex compositions, there's plenty of grid flexibility for altering time signatures, deleting beats from bars and so on.Other users, more into hip‑hop styles, are likely to gravitate towards the sampler and its playback options. Material recorded on a track — or imported from external libraries — can be looped (waveforms are visible on screen) and assigned to pads for performance. Triggered events can then be sequenced and played back together with any other recorded parts. It's all standard hardware sequencing stuff, really, and after acquiring a degree of expertise, users should be able to use the tools to compose complex rhythm tracks.As for stand-alone recording, the R24 works pretty well, and it sounds reasonably good too. Setting up to record is a breeze, and it's very easy to swap recorded audio to another location if using a particular input channel.
Guitarists will find that inserting effects is no problem at all, and the in‑built tuner is fast to call up and use. It really does seem as though the R24, like the HD16 before it, is primarily a rock‑solid digital recorder with extra features bolted on, with varying degrees of success.The machine itself adds no noticeable noise to the room when switched on, which can't be said of the loud hard‑disk recorders of old! Gone too is the CD‑R/W drive, but as this device is designed to work with a computer — which is well equipped for media creation — that's a fair enough omission and will have helped to keep costs down.In our review of the R16 last year, SOS called for a more professional version, to include better preamps, digital I/O and metering. Zoom obviously haven't identified a large enough market for these features, as only our wish for more phantom-power channels appears to have been granted, but it has to be said that most of the above are either adequate or good already. Zoom's preferred design amendments (the addition of extra tracks and a rhythm machine/sampler), improve the product's credentials as a stand-alone music‑production device, but still leave it slightly lacking as a control surface.It doesn't have, for example, any continuous rotary encoders that could be used to move on‑screen knobs, and I wonder if it might have been better to have an in‑built keyboard for triggering samples, rather than the pads — as that would make it useful for playing soft synths too. To be fair, though, it's important to have the option of creating some sort of rhythmic backing when recording away from the computer, so if Zoom were faced with a straight choice here they probably made the right one.Apart from the R24's ability to act as an audio interface, it doesn't represent a massive advance in design over the original HD16, particularly as some of the same usability issues remain.
Nevertheless, as a hybrid product that fills a very particular gap in the market, there is much to commend the R24. SummaryIt's been over three‑and‑a‑half years since Zoom released the HD16, and they're still maturing the hybrid recorder/control surface concept that it introduced. The R24 probably functions slightly better as a stand‑alone music‑production device than as a control surface and interface. It's an innovative and reasonably well executed idea, though, which will appeal just as much to those who don't want to take their laptop systems out live as it will to those who still prefer recording with hardware.
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While I'm not a very prolific poster here, I read a lot and I really appreciate all the excellent threads and posts about everything under the sun when it comes to song craft, recording (both old school analog and new fangled tech), and technical gadget advice. So Thank You HR.com!I wanted to post my perspective about my decision to sell my M-Audio Fast Track C600 and buy a Zoom R24 Recorder/Interface/Controller.I worked in an analog studio from 1992-1995. It was set up with some great, albeit old, gear from the late 70s. MCI board, MCI 2' 24 Track recorder to match and much much more. I learned so much.But since then, I've had a hard time getting back involved in recording using the computer.
I am an admitted mac snob and have been using them since '87, they are all I know. So I obviously bought Logic Pro 9 to go with the C600 last year. I had used GarageBand before that, of course.I just never bonded with that way of working and felt I needed something to bridge the gap, you know, some kind of control surface that gave me that tactile feel. I looked at the Zoom R16 the year before but ruled it out for a number of reasons: did I need 8 inputs? (Turns out YES!) Was Zoom a very good company?
I had owned a G2 and thought it was dreadful. (Turns out YES, too!) Did it have good enough pre-amps? (Yup!) Would it be too hard to learn using a tiny screen, no visual on recordings like the computer, etc.? (Turns out NO, not hard & it also turns out that the lack of the 'big picture' screen, I'm getting more intimate with my recordings, counting out beats, sequencing drums for the first time since 1992!)So, last Wednesday, I had a day off and sat down with the zoom, the day after it arrived, to finally dig in and learn about this thing. Using only the Zoom forum, a pdf of the manual up on my screen, I was able to sequence a full song's drum track, lay down a guitar part, bass part and prepare a track for my daughter to sing on.It took me 3.5 hours and it's the most I've been able to do in the past year of 're-learning' recording the digital way.
Albeit, please keep in mind I rarely have days off or the free spare time to mess with this stuff with wife and two teen daughters. It seems my 'Job #1' is the three D's: Driving, Dinner and Dad stuff. Don't get me wrong, I love them all and enjoy my time with them, but sometimes the things I want to do gets lost and by the time I HAVE time, I'm bushed! Yes, if I'd had the time to concentrate solely on recording via interface (C600) and DAW (Logic Pro) last year, I'm sure I'd be good, but as often it happens, I'm sure, the breadth and complexity of what a professional DAW can accomplish is intimidating and daunting!How did it sound? Well.No grammy's in my future, but I was thoroughly impressed with how simple and easy it was to accomplish this.
I was able to easily use the Send/Return effects for basic reverb and a chorus on the bass, EQ'd the tracks, Panned, set levels, etc. Another thing that makes this so understandable for the novice is the fact that if you're plugged into Input 1, you're recording on Track 1, Input 5, Track 5, etc. You can easily bounce tracks, or swap them to another empty track so you can use the same input.
This allows me to have my Roland Juno-Gi attached to tracks 3/4 at all times, leaving 5/6 with phantom power (you can set it in the prefs to power on 3-6 or just 5/6) for mic'ing, and 7/8 for bouncing tracks.and that's all just using the first bank of tracks. With the push of a dedicated button on the control panel, you can switch to tracks 9/16 and 17/24. The built-in effects processor is really powerful with 100+ effects allowing you to apply reverb and chorus to all tracks without recording them, leaving a dry signal for you to tweak to your hearts content.
There is also the ability to apply Insert Effects to 8 channels simultaneously (i.e. Compression for drums) and 9 different Algorithms set up for standard duties like vocals and distortion for guitars.
I've yet to really dig into that yet. Not to mention the 8 pads that can used to trigger drums or samples, let alone the whole sampler PLUS it has a sequencer and drum machine built-in! Whoa, this thing will not bore me any time soon!It records, as you would expect in a stand-alone unit, to SD card. I purchased two Sony SDHC 32gb fast write/access cards (2gb card was included). It also comes with a 4gb USB drive loaded with loops and a method to backup your projects.Plus with the USB interface, you can plug it in to your computer and using Mackie Control Surface prefs in your DAW, you can use it as a 96khz 24bit interface AND control surface. I tried it out and it works!
Complicated and it will take me some time to really get the hang of how it works with logic, but it does help give me that tactile feel I was craving. The built-in effects are still useful for recording as an interface providing you with a way to set up a headphone mix with Send/Return effects that do not get recorded, keeping the latency low. You can also download/export WAV files directly to your DAW and start working on them in there. Once again, nothing I have spent too much time with yet, but definitely there for my future growth and learning!I picked mine up using a 15% off coupon and was a little worried about spending $400+ on another device (for fear I might be asked to sleep on the couch for buying more equipment!), but now that I have it and have used it, I'm impressed and have NO REGRETS! The rest of the family has seen the value in this neat little device, as well, and I hope to teach Corey and Stacey how to use the basic project set up, track selection, recording functions so when we travel to see our friend in Gainesville, MO, we can 'lay down some tracks, man!' It's battery powered for chrissakes!
And the built-in stereo condenser mics actually sound quite good.All in all, a great purchase, quality gear, better than I expected and, well, I really just love this little thing for the freedom it's giving me, the encouragement to learn more and dive in, and eventually even tackle that DAW at home for bigger and bigger projects in the future. But even if I never do more than just use it as a scratch pad, it's already paid for itself in ease of use and portability! Thanks Doc for your kind words.I forgot to add that I just purchased the Tutorial from ProAudioDVDs.com for. David Wills company helped me learn my Juno G a few years ago, so I took a chance on this one.
I've already learned to do a lot with just the excellent folks at the Zoom Forum and the manual, which is actually not bad for a japanese translated thing! But only watching the first 30 minutes of the 2.5 hr dvd and I discovered all kinds of things. It started out pretty basic for total newbs but still worthy of intermediates like me.If M-Audio and Avid had offered this much support for their C600 I might have kept it but the software was buggy and never up to date with the latest mac os.
The control panel crashed all the time. And the unit made a few popping noises too. Plus they made the awful mistake of putting a shiny piece of plastic on the top of the unit that scratched the first time I brushed away a spec of dust. After a year of ownership, I'll be lucky to get $50-100 out of it (I paid $375)!I hope it encourages you to embrace the portable recorder option, it's really helped open my eyes and make it feel more accessible for me rather than learning yet another application.Good luck!
Wanted to post a thanks to Flyingace for his very similar perspective and experience and the review! I too, was absent to music due to military career and two years ago put together a home synth-based studio and purchased Avid/ C600, which also came with Pro Tools MP9. Have a pc and had nothing but problems with software AND control panel of C600 crashing.
Avid's support was ALWAYS nothing short of 'we will not give you any help/support until I had a pc that was supported on their list.' , and were rather snarky and rude on forum as well.
Not a way to treat people that shell out money in a dire economy, but personally do not think they gave a rat's @ss!I have since went DAW route and loving it. Also, works great for what I am using it for, as a musical 'sketch-pad', however, it's interesting that the C600 has no issues at all playing nice with Reaper DAW, but will be a cold day in hell before Avid gets a cent from me again in future. The Zoom folks have been updating the audio driver and firmware. The reason continue to use C600 as an audio interface is because it has midi, although record primarily audio but having sister track for midi automation is pretty useful.
Had Zoom included Midi on the R24, it would solve standalone timing/sync issues (those issues are not present when used as an audio interface though), and would be just about perfect. Hi There,I though everyone should know that the ZOOM R24 has some has some severe issues when using condenser microphones - have read most of the online threads/posts pertaining the condenser mic and pre-amp issues. I too can confirm that the ZOOM cant handle condenser mics very well. My conclusion is that the pre-amp on the R24 is unstable and poor and I am now considering making a compliant to the ombudsman.
But before doing so, maybe I can get some feedback/help from this forum?For your information - I have the ZOOM R24 unit but have major difficulties getting my condenser microphones to work. I use the AT2020 and RODE NT1, respectively. I also have a dynamic microphone which actually works fine and is used for vocal. Likewise, guitar/bass inputs are also working fine. The frustration think is that I can't get the condenser mics to work at all, only dynamic microphones seem to be working.
Also, there is always a humming noise coming from my monitors when using the R24. The good news is that the noise doesn't effect my recordings, it just sound very unprofessional when you are with other professional musicians making recordings - it doesn't do the brand any good.However, when using the condenser mics I make sure the phantom is turned 'on' and 48V has been selected as per the spec. I am running the R24 directly from the wall power so there should be enough juice (mA, etc) to drive the mics.
In addition, I have also changed the batteries on the back on the unit and replaced my cables and a million other things, but the truth is that I still haven't been able to resolve the problem with the condenser mics. The AT2020 and RODE NT1, have been tested in external recording environments and are working fine, but when they are connected to the R24 they mics fail.
Clearly there is an issue with the R24. I have also liaised with a couple of owners of the R16, they have similar issues.Judging from the various forums, there seem to be a lot of unhappy ZOOM customers out there. Also, it is not possible to post a thread on the ZOOM forum either, great support! Anyway, I am wondering if the manufacturer is going to do something about this know issue - I noticed they are now also releasing the ZOOM TAC-2.
Lets hope this unit doesn't have the same problem with the phantom/pre-amps. I wonder how the manufacturer can keep producing new units when they know there is a serious problem like this in the market place. No updates or feedback has been given from the manufacturer which is very disappointing.I am thinking buying the DPA 4400S for sax recordings and the DAD6001-BC (MicroDot to 3-pin XLR adapter w.
The DPA mic is to be used for recording but it is a $800 investment. Since I can't get the R24 to drive my other condenser microphones I have doubts about investing in a any new condenser microphones. Best my little pony games. Can someone tell me if there is a list of any condenser mics that doesn't work with the ZOOM R24? At least this way I know what to stay away from. As you can appreciate, I am getting somewhat concerned and rather frustrated about this - I thought Zoom product was reliable brand.I am considering filing a compliant with the ACCC and the ombudsman - however, before doing so I wanted to find a resolution to this problem.
I am reaching out to you in this forum, hoping you will be able to provide some assistance.On a final note - I was wondering it it would help connecting a MicroPower - PS400 to the R24, do you think that can be done and would that resolve the problem with the condenser mics? Alternatively, although I am hesitant buying any ZOOM brands in the future - would anyone know if the ZOOM TAC-2 can be bridged with the R24 and that way the problem will be resolved - has anyone tried this?All I want to do is to be able to connect my condenser mics to the R24 unit so that I can move on with my projects.Can anyone assist me with my issue - I have tried everything under the sun with no positive outcome. Any advise is appreciated?I am running version 1.12.iMac V 10.7.5Processor 3.06 Ghz Intel Core 2 DuoMemory 4GB 1067 Mhz RAMRecording Software: Logic ProThanks in advanced - from a desperate Zoom customer in Australia. The Zoom R16/R24 are USB powered.This means that there's only 5V, 500 mA or 2.5 W available for the entire machine. Just imagine the number of LED's, each needing 2 to 3 mA and there's very little juice left for phantom power.
Also, the 5 V from USB needs to be transformed to 48V, resulting in loss. 50 LED's, consuming 25 to 30% of the available power, it's almost a miracle this thing works.That's also the reason why only two channels have phantom power.I can imagine some mics drawing too much power. The same problem appears with some other battery powered gear.I'd love to have seen phantom power on all eight channels and more juice available for power hungry mics. But it's not that easy if this thing has to work on USB power. I'd also be happy if Zoom decided to drop USB power in favor of more solid phantom power, but that would affect battery life too.BTW.
A phantom powered mic should only draw 4 mA, according to phantom power specs. Some of my mics draw 10 mA, which is 2.5 times the phantom spec.
I see no one complaining about these mics not following the specs. The ACCC aren't going to help you and there's no recording device ombudsman that I'm aware of. In any case, no ombudsman ever hears a complaint until the supplier of service/gear has been contacted and given a chance to resolve it.If the machine doesn't work as it's meant to, take it back (assuming it's new) and get your money back. If you want to persist with it get with phantom power.Or you can get an audio interface and use your computer as a recording device instead.Any particular reason why you're going down the standalone recorder route?You've also resurrected a dead thread and added your problem to it.
Better to open your own thread, and in the appropriate forum - you're not recording with a computer, thus this is the wrong place and people may not see it here.And where in Australia are you?