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+ EUR 6,35 (livraison)
Zoom R24 Interface sampler avec effets Surface de contrôle Enregistreur 24 pistes
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|Prix :||EUR 449,00 LIVRAISON GRATUITE Détails|
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- 24 pistes de lecture - 8 pistes simultanées en enregistrement - 8 entrées symétriques combinées XLR/jack 1/4" - alimentation fantôme 48V sur 6 canaux - enregistrement au format WAV haute définition 24bit/48kHz PCM linéaire - capacité d'enregistrement haute définition 24 bit/96kHz - mode interface audio 8 entrées/2 sorties (8x2) via USB - port USB 2.0 - enregistrement sur carte SD et SDHC jusqu'à 32Go - micros stéréo à condensateur intégrés - plus de 100 effets de qualité studio incluant modélisations d'ampli guitare et des effets de mastering - possibilité de connecter 2xR24 pour l'enregistrement de 16 pistes simultanées - surface de contrôle USB avec émulation du "Mackie Control" sur les logiciels les plus populaires (Cubase, Logic, Sonar...) - échantilloneur avec pads 24 voies (8 pads x 3 banques de sons)- séquenceur audio à base de boucles - 4 heures d'autonomie avec 6 piles alcaline AA non fournies - fourni avec alimentation AD0014, carte SD 1Go et câble USB
- La clé Micro SD 2 Go + USB 4 Go
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Descriptions du produit
24 pistes de lecture - 8 pistes simultanees en enregistrement - 8 entrees symetriques combinees XLR/jack 1/4 - alimentation fantome 48V sur 6 canaux - enregistrement au format WAV haute definition 24bit/48kHz PCM lineaire - capacite d'enregistrement haute definition 24 bit/96kHz - mode interface audio 8 entrees/2 sorties (8x2) via USB - port USB 2.0 - enregistrement sur carte SD et SDHC jusqu'a 32Go - micros stereo a condensateur integres - plus de 100 effets de qualite studio incluant modelisations d'ampli guitare et des effets de mastering - possibilite de connecter 2xR24 pour l'enregistrement de 16 pistes simultanees - surface de controle USB avec emulation du Mackie Control sur les logiciels les plus populaires (Cubase, Logic, Sonar...) - echantilloneur avec pads 24 voies (8 pads x 3 banques de sons)- sequenceur audio a base de boucles - 4heures d'autonomie avec 6 piles alcaline AA non fournies - fourni avec alimentation AD0014, carte SD 1Go et cable USB
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Meilleurs commentaires des clients
Je l'ai utilisé le lendemain pour une session en studio de répétition à Paris.
Au bilan, super rentable, on a enregistré plein de titres, que j'ai ensuite mixé/arrangé/égalisé/pré masterisé entre la R24 & un logiciel sur mon PC.
Je cherchais depuis longtemps une solution home studio nomade, ne dépendant pas d'un PC, et bien je l'ai trouvé.
Je recommande cette petite merveille, facile à prendre en main, heureusement que j'avais déjà chez moi une carte SD de 32Gb, parce qu'avec la carte d'1Gb offerte ... on sature vite!
30/03/2012 : Matériel toujours fonctionnel, cependant je suggère d'opter pour un boîtier Préamp XLR pour les microphones, et surtout un cablâge de qualité (MONSTER par ex).
23/04/2012 : Enregistrement des voix effectué via le Zoom R24>>>[...]
par contre le mixage/premastering a été fait via mon logiciel M.A.O. pas avec le Zoom R24.
(Microphone Behringer C1)
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But let's start with the bad, before we get to the good. The Bad:
- The preamp quality is not that great. I want to be careful not to over-state this too much: they are certainly not BAD preamps, and they are certainly competitive with other preamps that can be bought eight at a whack for $300, but they are not fast-response, high-headroom, ultra-clean studio preamps. They are more like the preamps on a decent portastudio (duh). They have a bit of a tendency to flab out on DI bass tracks, and can turn a bit crunchy/hashy at the top with difficult program material such as cymbals or detailed condensers. Backing off the input gain and recording at lower levels helps but does not completely solve these issues. And ribbon mics are pretty much right out: there's just not enough clean gain to drive low-output mics while preserving sound quality. But they are perfectly adequate for midrangey, high-output dynamic live mics, such as Shure SM57s and 58s, and considering the price point and what you're buying, they are actually quite capable: VASTLY better than the 1/8" mic/line input on a typical consumer soundcard, and comparable with a typical budget/prosumer mixer or live console.
- Phantom power on only two channels. I imagine this is a limitation of using USB/battery power, and it's frankly kind of amazing that they can deliver 48V at all. But it is still a limitation. If you want to use this box for full-blown studio recording, for this reason and the above, you'll probably want to have some outboard preamps or a mixing console or some such (soundcraft makes some inexpensive mixers with pretty good preamps).
- Zero midi anything. I'm not sure if this is a "bad", so much as just something to be aware of. Inclusion of a simple GM synth or drum machine, or even the ability to record MIDI would have expanded the usefulness of this box, but also would have added a lot of complexity to the little menu-based LCD interface. Overall I think it was a better decision to leave it out, and keep the device easier to use, but it's worth being aware of: if you want to record midi instruments with this box, you will be recording the output as audio.
- Usability/latency problems as a computer audio interface. I found this box to be unsatisfying as a laptop audio interface using early 2010 drivers. USB audio interfaces can be iffy compared with firewire or PCI, and this was no exception. I experienced intermittent problems with crackly audio, dropouts and skips, and had to frequently adjust latency settings and/or restart the hardware. Such problems were intermittent, but even occasional meltdowns can make such a device almost unusable. It's easier to simply record standalone to the Zoom R16 and then dump the files into computer via USB for editing and mixing in your favorite DAW software. Bear in mind that every computer is a bit different, so YMMV, and future firmware or driver updates may help the situation. But for now I cannot recommend it as a primary multitrack audio interface for computer-based recording (although I certainly recommend it as a portable multitrack recorder that can integrate with a computer setup).
So much for the bad. The good:
- IT RUNS ON FRIGGEN BATTERIES. If you are new to recording, it may not be clear what a revolutionary thing this is, to have a complete, legitimate recording studio that you can leave on the coffee table or stick in a backpack and take a full project from recording, through mixing, with effects, and run the whole thing on six AA batteries. Battery-powered recorders are obviously not new, but this box is genuinely a fully-capable recording studio that achieves the magic number of 8 simultaneous inputs, with effects and mixing. And battery life is actually quite good. The more tracks and more processing and effects you're using, the faster they deplete, but even at full load you're changing batteries maybe every two hours, more than enough time to re-charge a spare set of rechargeables.
- SD storage. Using SD cards as the storage medium means cheap and easy storage, but even better, no fans, no motors, no whirring/clicking hard disk... this box is *silent*. It also means that it records like tape: there is no saving, no file-management... just hit record or play, turn power on and off whenever you want-- no worries, and no inspiration-killing hassle.
- Ease of use is really good. Text- and menu-based LCD windows can be a nightmare to deal with, as anyone who was recording in the early days of digital knows. But if you're familiar with multi-track recording generally, this device is easy to use right out of the box. Reading the (pretty good) manual is not required to start recording and mixing, but it does reveal a LOT of deep functionality. If you are new to recording, this is a pretty easy way to get started: it doesn't have the graphical point-and-click simplicity of a computer-based interface, but it also skips over all the issues of latencies, drivers, file-management, and various computer-related headaches. The R16's true 8-input recording and 16-track playback allow it to skip/simplify internal routing, bussing, etc, making it very straightforward to use: every physical channel is a track, and there is a bank up/down key to determine whether you're working with tracks 1-8, or 9-16. Couldn't be simpler. Each channel has a play/mute/record toggle button with a color-changing LED to tell you what state it's in, and the transport controls work just like a tape machine. The menus for effects, project selection, track swapping, etc are all straightforward and well-thought-out, with clearly-labelled buttons for each menu. Connections are extremely simple and obvious. Each channel has a gain/trim knob and a mix fader with a 4-LED meter that automatically switches from record level to playback level depending on the track status, and channels with switchable input status use separate physical switches to flip between phantom power on/off, built-in vs external mics, or instrument/mic inputs. Easy-peasy, with no obscure or hidden settings or parameters to drive you nuts.
- The built-in mics are an outstanding feature. They are your basic electret omni mics, which means they are quiet, accurate, and have good dynamic response with both low- and high-volume material. Just flip the switch and set them to record and you can track all your rehearsals, live shows, living-room practice, whatever. You can make full multitrack demos using just this box and a pair of headphones.
- Built-in effects are comprehensive, quite good, and very well-thought out. The presets are very usefully-constructed for a box of this type, designed to minimize menu-based tweaking. The main "default" effects configuration is set up for semi-automatic per-channel eq/compression, a master reverb/delay with per-track send, and a full suite of guitar and bass effects on the hi-Z "guitar channel". Digging into the menus further allows you to assign any effect to any track, to change whether insert effects are "hard-coded" onto the incoming audio, or just applied as a bus effect (for example, if you wanted to hear the effect during tracking and playback, but keep the underlying audio "clean" for later processing in a computer DAW or whatever). There are also a host of nifty extras including preamp modellers, guitar and bass amp emulators, wah/modulation/etc "special effects", acoustic guitar and bass simulators, and so on. Not 10 years ago, this box would have been worth the price as a single-channel multi-effects processor alone. Some of the settings are a little weird, and I'd much rather do a full mixdown using hardware processors or computer plugins than using menu-based text inputs, but the effects are all real-time, and you can hear your changes as you make them, so it's certainly possible to do a full record with this box alone, and effects quality is comparable to other digital hardware processors.
- Overall sound quality is quite good. Even factoring in the preamp reservations above, 15 years ago you could have spent 10 or 15 thousand dollars EASILY and still not had the sound quality and capability of this little box (plus you would have needed 20 electrical outlets and a room to store it all in, not to mention hundreds or thousands of dollars worth of racks and cables). It probably won't replace your RME interface or Apogee converters, and it certainly won't replace a collection of API and Telefunken mic preamps, and you'll probably want to hang onto to your UAD card if you have one, but good luck sticking all that in a laptop bag and taking it to the beach.
This plus something like a Tivoli Audio iSongBook (or even a pair of headphones) makes a complete, battery-powered multitrack studio that fits in a backpack or laptop bag, with room left over to hold spare batteries plus a couple of mic cables and SM57s, if you want them. Laptop-based mobile DAWs have always seemed like an awesome idea, but in practice things like boot times, dongles, limited mobile interface options, mixing and control via mousepad, short battery life, self-noise, computer-related reliability and stability issues, etc have always tended to keep it a good "idea" as opposed to a truly mobile "on your lap" studio. This is perfect and easy to take on the road, record in the tour bus, in the rehearsal space, in the hotel room, at a picnic table, a house party, wherever.
I bought this recorder because I was just tired of using my computer for music production. I don't have a great computer, so I experienced many problems right off the bat trying to use my computer to record. I experienced latency while recording, which set off the timing off all my tracks. My sound card was a piece of crap. I also suffer from severe OCD, and really wanted something simple and clean to organize all of my recordings on.
This did all of that and more.
The recorder itself will do exactly what most of you what: record from a connected condenser microphone, and allow you to mix and pan all of the tracks. You can also connect various other hardware such as synthesizers, drum machines, and more. But there are SO MANY cool features on this device that expand beyond that including:
- A built in guitar effects processor. You can plug your electric guitar directly into the device and it has digital amp settings in there with loads of effects you can play around with. You know those digital pedalboards by companies such as Digitech? It's very similar to something like that.
- Mixing... the mixer and mixing capabilities on this device are amazing. You can of course do simple edits to adjust the panning, adjust EQ... but there are tons of other really amazing things on here, such as the "effects" section. There are "mastering" effects on here, which are presets that will automatically make your mix sound professional and incredible. If you record vocals and an acoustic guitar track, and then turn on the "warm" or "live" mastering preset, the difference is night and day.
- Sampler. I haven't gotten into this feature as much as I'd like, but this device functions as a sampler. My favorite part about recording with this recorder at first was how easy it is to loop tracks. You can play a simple riff on guitar and loop it on one track, and use the other tracks to record tracks over in real time. But you can use this principle to use this as a sampler in live performance situations. I can take an MP3 of a song, load it onto the recorder, chop the part of the sample I want to use all ON the recorder, set it to loop, connect my drum machine, and play the drums live with the sample. If you have a very cheap, basic drum machine, you can effectively turn it into an MPC style device just by attaching it to this recorder.
The one issue that stopped this product from being the absolute best purchase I've made in recent years is the drum machine. It includes a built in drum machine with drum pads along the bottom... but the included drum kits SUCK. It doesn't include drum samples you can just mix and match to make awesome drum kits. It includes a handful of really digital sounding, crappy kits that sound very un-even and stand out in the mix. In theory you "can" make your own drum kits by saving drum sounds onto the SD card and programming them to the pads as "samples", but it sounds and plays like s***. You can look up videos online of people trying to do this, it's a lot of hassle and doesn't work.
It's nice that they included the drum machine, however. There are maybe one or two kits that are usable. But it's a great feature to have when writing songs and brainstorming. If you're already working out guitar parts on the recorder, it's so easy to just record a hi-hat rhythm with a kick and snare that will be perfectly synced up to your recording in a matter of seconds.
I am extremely tired and feel like I'm rambling on, but this device is so much more than just something that will record and playback what you send through it.
It's truly a home studio in a box.
The onboard amp simulations are "good", but I wouldn't say "incredible". I'd consider them "average" for digital modeling of this sort. Guitar Rig, IMO, is better for that sort of thing.
The effects are only available in 44100 Hz operation (CD quality). To me, that's not a major downfall, but for people who like to record at higher rates it might be (though there's no way human ears can hear the difference so I consider it a little silly).
You can only use one insert effect at a time (but you can add chorus/delay, reverb, etc, to that insert effect as well).
There is no external effects send/return loop. So if you have good quality post-signal recording effects that you like to use (compressor or whatever) you won't be able to "plug them in" to the R24 as post-signal external effects... though this can be partially worked around.
As a DAW control surface you can't use the drum pads to control plug-in drum software. The control surface works very well as far as the faders and stop, start, etc functions are concerned, but you can't control plug-in drum functions via a midi controller at the same time. This isn't the end of the world because you don't need to be mixing other channels when you're programming drums, but it would be much more convenient if the R24's drum pads could just be used as a midi control surface for the drums.
Apparently there's a 1.3ms latency introduced when recording tracks while playing back other recorded tracks. As anyone familiar with digital recording knows, all digital devices have some latency involved and you CANNOT detect anything as low as 1.3ms with the human ear... but if you re-amp the same track 10 times in a row you might start to notice it (why anyone would do that I have no idea). I have no personal experience with this 1.3ms latency myself and can't notice it or confirm it... I read about it on the internet and have to take their word for it.
Now the good points.
Apparently, you can remedy the 1.3ms latency thing by doing a simple "trick" after you record the track. Again, I wouldn't know because I have no need to do it.
The DAW controller feature of the Zoom R24 is based on the industry standard Mackie Control architecture, which doesn't support drum pads... that's why the R24 can't do it. For Zoom to include midi drum pad control when operating the R24 as a control surface would probably require a complete rework of Mackie Control, which isn't likely or maybe even feasible. So perhaps it's a little unreasonable to expect the R24 to have this feature. If you want that type of thing, use a separate MIDI controller when you track drums (which is a bit of a nuisance because you have to reset the midi I/O in your DAW, but that's life).
Using the R24 as a DAW interface through the USB connection bypasses your computer's soundcard so you don't need to have a good soundcard in your computer (the R24 acts as the soundcard and your monitor speakers connect to the R24 to hear sounds from the PC).
The R24 has a tonne of on-board effects, so you might not miss not having an external effects loop - but if you have good quality recording effects that you like to use you won't be able to use them while recording the track while the other tracks are playing. You can, however, loop the track by itself through your effect(s) afterwards by going through the main ouput and back into another track and use your external effect(s) that way (this is where that 1.3ms latency I mentioned above comes up after doing this a bunch of times). Personally, I find the R24's effects cover the bases here, so I don't need to do this but if you do, keep this in mind - you can use external effects on recorded tracks, but it requires re-tracking.
The effects are fairly flexible and give you a good level of control over each effect's critical parameters. I said the amp-sim effects were "good" but not "incredible", in reality the R24 gives you lots of control over each effect, so "incredible" might be tunable if you're good at that sort of thing. You can control the gain of the amp simulations, the cabinet simulations, 6-bands of EQ, etc. So a lot of that is up to you. For instance, the compressor modules give you control over attack, sense, threshold, release, delay, etc. There are a lot of effects available. Considering that the R24 is giving you literally hundreds of recording quality effects on-board what is essentially meant to be "just" a 24-track recorder this is really incredible.
Overall, the R24 is an incredible product for the price. It gives you the ability to record 8 tracks simultaneously (two with phantom power) a vast selection of quality highly tweakable effects, built-in tuners and metronome, is light and portable and can record high-quality recordings as a stand-alone unit, it also works very conveniently as a DAW interface and control surface if you want to lay the tracks down in your computer. I haven't used it much as a sampler, so I'm not really familiar with that functionality. It does come with drum samples and sampling functionality, but I use other hardware and software for that so I haven't explored this in the R24 much.
I'm very happy with this product for my uses. I use it to record directly to the R24 (using my studio's other gear or sometimes the on-board modeling) and use the R24's effects and mastering effects. I also use it as an interface and control surface for my PC as a DAW. There are some "flaws" that I'd like to see improved (an external effects loop, the ability to use more than one insert effect at a time, midi control of drum software by the R24's drum pads, etc), but overall these shortcomings are forgivable and are to be expected in any product (no product is perfect). Considering the capabilities, flexibility and recording quality that the R24 has in one package for such a low price I think it's nearly impossible to beat - looking at it that way it deserves 5/5 stars. There's no single unit on the market, in this price range or really any other, that does all the things that the R24 does. If you have a home studio and want one unit to cover a lot of bases well, then this is probably the machine for you.
The best way to judge a recorder is hearing it. Type "eddiedskim" in youtube without quotes and my video will show up . The name of the song is "Blink", "I sing Over You", "Birds Singing". All these songs were recorded by Zoom R8 without any outboard preamps.
This unit is kind of a bridge for folks who are used to stand-alone recorders, but want to go digital. It's almost as simple to use as the old 4-track cassette units. After you start getting used to it, you realize just how many more features there are in the R8.
Although you can use it as an audio interface to record your tracks straight to your computer, I prefer to use the R8 as a stand-alone unit and then use it in "card reader" mode to transfer tracks back and forth to the computer. As long as you don't change the length of individual tracks, you can edit them on your computer and then plug them back into the project. You also have some editing abilities in the R8itself.
PROs There are way too many pros for me to list, but, here are some highlights: The effects are great, and can also be edited, the sequencer and looper are nice, and I am blown away at the sound of the on-board mics. It's easy to use, and loaded with features that won't be found on other recorders in this price range, or even recorders costing a couple hundred dollars more. The sound quality is great. The auto punch in/out is one of the easiest I've used. The only limitation to how many "virtual tracks" you can record is how much space is remaining on your SD card. This is a great value!
CONs: Not many. The drum sounds could be better, but you're not going to find any other recorders in this price range that even have drums. The biggest con for me would be that it only records two tracks at a time, but, once again, no other recorder in this price range will be able to record more than two at a time. One weird thing did happen once when I recorded a track too loud, and it bled onto another track, which should be impossible with a digital recorder. That was not too long after I got it, and I could only hear it in the headphones, while the monitor signal was fine. I think that I must have had a setting wrong, because I was still learning.
SUMMARY- The R8 is a great sounding, easy to use recorder/interface/sequencer/looper/drum machine that has no competition in its price range. Buy it before ZOOM realizes it's worth more.
P.S. I've read reviews that say the R8 is fragile. I have found the opposite. My R8 has spent quite a bit of time in the pockets of gig bags, and it works and looks just like it did when I got it. I also read a review that said it was ugly and looked like something from the 90s. Who cares about how it looks?
P.P.S. If you have problems getting started, watch the videos about the R8 on Youtube. The ones by "bobritsky" are especially useful. After you've watched them, the user's manual becomes just a handy quick reference guide.