Zoom R16 16 Track SD Card Recorder Interface and Controller

Product Information

The R16 comes bundled with a copy of Cubase LE 4 for Mac or PC, now slightly outdated but still a worthwhile introduction to working with a DAW and easily capable of carrying out the editing tasks the R16 omits. Templates are supplied for Cubase that make it even easier to drag and drop your recordings into a new project. I've used Tascam Portastudios for years and decided to replace it with the ZOOM because of the bad experience with the NEW DP-24 Portastudio. The fact is that the R16 is one extremely versatile piece of kit that can be used in a variety of scenarios." In general, the work on the Zoom requires great attention because of multifunction buttons, cascading menus, etc.. Handle in peace!

The R16 functions as an audio interface enabling direct input of sound to a computer. It features support for high quality 24-bit/96kHz encoding, it has eight input channels and two output channels which can be used simultaneously. At the sound, so that bin does not gain beyond 3/4, it is very clean, no staining, the momentum is maintained. Frankly for models is more than enough. The reason I don't feel too inclined to dwell on the R16's shortcomings as a mixer is that it is so clearly designed to be integrated with a computer recording system. Once you've installed its ASIO driver, you can hook up a USB cable from R16 to PC (assuming you have a USB2 port on your computer, which almost everyone does nowadays). The R16 will happily take its power from the USB connection where it's available, and when it detects such a connection, gives you the option of starting up in Card Reader or Interface modes. Assuming you actually want to work on material recorded to the R16, you'll need to use the Card Reader mode first, so that you can transfer the necessary files over to your computer's hard drive. For some reason, all R16 projects appear to the computer as 'PROJ001' and so on, regardless of any name you've given them within the R16, but confusion is unlikely unless you've got lots of them on a single card. You can't import Projects themselves into a DAW, but it's easy enough to line up the audio files — helpfully, even takes that were started halfway through a Project are automatically extended to the Project start. I use this for direct plug in recording then transfer it to REAPER or GARAGEBAND for editing and adding effects, EQ, pan, synth sounds, etc... 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.

I got it for cheap (210 €) in December 2013 so I am quite satisfied, money quite impressive report. One R16 feature that is a godsend if you're used to laptop recording is its eerie silence in operation: as far as I can tell there are no fans or moving parts whatsoever to intrude on your intimate acoustic moments. The preamps are not the quietest around, and can sound a little edgy, but are probably about as good as you could expect at this price. There's enough gain for most common music‑recording applications, and channels 5/6 supply the full 48V phantom power even running off batteries. The plastic knobs used to set input gain feel a little flimsy, though, and given that there's no metering beyond the four‑segment LED and preamp clip light on each channel, it's not that easy to set the gain precisely. There are also no pads, and it's quite easy to light the preamp clip LEDs when miking a snare drum or guitar cab, though this occurs well before any audible clipping takes place. On the plus side, the built‑in omni mics are surprisingly usable, with a bright, crisp and generally noise‑free sound. They are, of course, vulnerable to handling noise and flapping headphone cables, but all in all, an unexpected bonus. I only use very little effect outside of the reverb. It not seem that bad. In any case, in the context of use as I do, it seems more than enough. The R16 also offers microphone simulations (U87, SM57, C414 and MD421) and all sorts of effects. The list is very long and it would be boring to name them all — let’s just say it provides 390 presets for 135 effects. It’s possible to use eight compressors and eight EQs simultaneously, not bad! The built-in mics are quite impressive: the sound quality is very good for an acoustic guitar for example, and pretty good in the case of an acoustic drum (we get a usable recording).

The quality is exactly what I wanted, no breath, no staining, very good intermediary between my gear and my PC Hardware. If you push a little too preamps there is a little breath on the last quarter of a turn, but I have not had any use for the moment, my MPC delivers all the potatoes and half the instruments enough. Mixer: It can be used for emergencies. Bad accessibility to the EQ and effect controls. The reverb is not bad , the delay is okay, but the rest is to be used only in an emergency. The EQ is okay.The stereo output on the console of our rehearsal studio on branch (to amplify the voice) and records everything you want with the system, without having to disconnect any cables.