Marantz has released a firmware upgrade for the PMD620 digital audio recorder that solves the biggest issue some users have had with the device. The PMD620 is compact, easy to use, and records excellent quality audio. But using the original firmware, if you were monitoring your recordings with headphones you would notice a slight lag/echo effect. In other words, you'd first hear the audio from its source, and then a split second later you'd hear the audio come to you through your headphones. This can be disconcerting if you're recording an interview.
The latest firmware resolves the latency issue. You can download the new firmware along with installation instructions from the official PMD620 web site.
Thanks aaronji!
Showing posts with label digital audio recorder. Show all posts
Showing posts with label digital audio recorder. Show all posts
Looking for a comprehensive review of the ZoomH2 flash audio recorder? While many people look to O'Reilly Media for their definitive reviews, from a public radio reporter's standpoint nobody does it better than Transom. And today they put out their review of the Zoom H2.
Overall, I didn't learn too much new. It's a tiny recorder that records decent sound from the built-in mics and pretty lousy sound from external microphones. If you're on a budget and you don't need broadcast-quality audio, the H2 is pretty attractive. But if you want to use your expensive condenser microphones and get the best possible sound from them you're going to want to look at a higher end recorder like the Fostex FR2-LE, Marantz PMD670, or Tascam HD-P2.
The Transom review does have some interesting tidbits including a bunch of sample recordings.
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Sure, I was able to install Audacity on my Eee PC, but what good is an audio editor without an audio input devices? I figured if worse came to worse, I could always pop the SD card out of my Zoom H4 audio recorder, throw it in the Eee PC's SD card slot and edit audio that way.
But it turns out the Eee PC has some pretty excellent hardware support for a Linux machine. When you plug the H4 into a PC, you can either use it as an external SD card reader or as an audio I/O device. That means you can speak into the H4's microphone and record audio on the PC, or plug devices into the XLR/quarter inch jacks. I didn't really expect this feature to work on my new Xandros-based laptop, but it does!
Here's a picture of my Eee PC running Audacity and recording audio from the Zoom H4 mic. The Eee PC also has a built in webcam with a microphone, so if you're not looking for professional audio quality, you don't really need an extra device. But as a radio journalist, I can fit the Zoom H4, the Eee PC, and a couple of cables and mics in a bag that's barely large enough to carry a full sized laptop.
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There are now three ways to record in mono with a Zoom H4.
- In stereo mode you can record to one track and leave the other track empty.
- If you've upgraded to the Zoom H4 2.0 firmware, you can record in mono mix, which means both your left and right channel will have identical data.
- You can use the 4-track recorder mode.
So let's take a look at the three options in detail.
Record on one channel only
When you first take your shiny new recorder out of the box, it will be set to record from the built-in microphones. Since they're stereo mics, this means you'll be recording in stereo. While this is great for recording music, it can be a bit disconcerting if you're recording an interview with a single person. If the mic isn't perfectly positioned, listeners will hear the voice coming louder through either the left or right channel.
If you switch from the mic input to the Input 1&2 option and plug in an external, mono microphone, you'll get a recording that looks something like this:
This isn't the end of the world, because you can use your digital audio editing software on a PC or Mac to turn this into a true mono track. Just select all the information in the left channel and either paste it into a new mono file or onto the right track to create a dual mono file.But when you're making your recording in the field and listening through your headphones, this means you'll only be able to hear in one ear. Since the Zoom H4 already has a pretty quiet headphone jack, this can be a serious problem.
Another disadvantage to recording this way is that you're wasting space on your SD memory card. In stereo mode, you can record about 3 hours of 44.1kHz WAV data on a 2GB card. But if you're only recording to one channel, you really should be able to record 6 hours.
So let's look at some of our other options.
Mono Mix recording
Just over a week ago, Zoom issued a firmware update that enables Mono mix recording. What this means is that you can create two-channel mono recordings in stereo mode.
If that sounds confusing, let me break it down. The Zoom has two built-in microphones. If you're using them to make a recording, the Zoom will average the sound and split it equally to both channels. That means that while you're still technically creating a stereo track, (in that audio is being written to the left and right channels), the information on each channel is identical. If you plug in an external, mono microphone, that information will be written to both the left and right channels.
In other words, you'll get a track that looks something like this:
Here's how to enable mono mix recording:- Press the Input Menu button (push the bottom of the navigation pad on the front of your unit).
- Use the jog dial on the side of the unit to scroll until you see mono mix.
- Push the jog dial in (as opposed to up or down).
- Move the jog dial up or down to turn mono mix on or off.
- Push the navigation pad to return to record mode.
So why would anyone still want to use 4-track mode unless they were recording band practice? Because in 4-track mode you can create true mono recordings, which means you get 6 hours of record time out of a 2GB memory card.
4-track mode
The one and only advantage to making mono recordings in 4-track mode is that you can actually record to a single track and effectively double the record time of your memory card. And that's enough for me. This is the mode I use most often. Notice how the resulting track shows up on a single channel.
If your goal is to produce a mono audio file, you're all set. If you need to duplicate the tracks and create a dual mono file, you can easily do this on your computer, which probably has more than a few gigs of memory.Here's how to set up mono recording in 4-track mode:
- Hit the center button on the navigation pad (the one that says menu on the front).
- Use the jog dial on the side of your unit to scroll down to Mode.
- Push the jog dial in and a new menu should pop up.
- Scroll down to 4Track Recorder and push the jog dial in again.
- A Now Loading screen should pop up and then you'll see a new menu screen with no battery meter or remaining record time meter.
- Push a button on the left to select a track. For simplicity's sake, you might just want to make a habit of pushing the first button, which has a 1 on it.
- Push the menu button (at the center of the navigation pad).
- Use the jog dial to scroll down to Rec Mode and push the jog dial in to select that option.
- Make sure the record mode is set to Always New, and then hit the menu button on the navigation pad to exit.
In fact, because I'm paranoid, I always make a backup recording by running a line out into an MP3 recorder in my pocket. That way if anything goes horribly wrong with my recording I should have another copy. Since it's MP3, it will be lower quality, but it's better than nothing.
So to recap:
- Go ahead and make stereo recordings if you're lazy and don't care about monitoring your recording in the field.
- Mono mix recording offers almost every feature you could ask for.
- 4-track mode offers the one thing missing from Mono mix: extended record time.
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If you want to get a good look at the Zoom H2 digital audio recorder in action without driving to your local music store, a few people have been kind enough to post detailed videos on YouTube.
In this video from the Portland Music Company, you can see all the little extras that come with the H2 recorder, like the mic stand and mic clip adapter. Notice how the mic clip struggles to hold the weight of the H2 though.
You can also check out some higher quality sample recordings at the company's website.
The second video comes from MystroB.
In this tutorial, you get a good look at the SD card slot (which looks kind of flimsy), and the bottom of the unit where you can screw in the stand and mic clip adapter. It looks a bit sturdier than I'd expected for cheap plastic.
You also get the sense that the Zoom H2 is tiny when compared with the H4, Marantz PMD660, and pretty much any other prosumer digital audio recorder on the market today. Either that, or this guy has huge hands.
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Sound Devices has released a firmware upgrade for its high-end digital audio recorders. Version 2.34 works with all recorders in the 7-series, including the 702, 722, and 744.
The update adds support for MP2 and MP3 compression, as well as the FLAC lossless codec. All three formats allow you to cram a bit more audio on your hard drive or storage card. MP2 and MP3 are lossy codecs, meaning you sacrifice some sound quality in the process, but FLAC recordings should sound identical to WAV audio recordings even though they take up about half the space.
Sound Devices has also released Wave Agent, a Windows-only utility for converting FLAC recordings to Broadcast Wave files.
[via RadioCamp]
There's a new firmware update for the Zoom H4 Handy Recorder, and boy is it a doozy. In fact, Zoom seems to have addressed almost every single complaint anyone's ever had with the Zoom software. Version 2.0 includes:
- Larger fonts making the tiny display easier to read
- Battery meter shows how much juice you've got left when recording in stereo mode
- Specify whether you're using alkaline or Ni-MH batteries for a more accurate battery reading
- There's a remaining time meter in stereo mode
- Mono mix recording in stereo mode (In other words, you'll still be recording on two tracks, but the output will be dual mono instead of true stereo. This doesn't save you any space on your memory card, but it does make voice recordings more accurate).
- Low cut filter with 10 presets for reducing background sound
- Auto recording mode starts up a recording when there's sound above a certain threshold and pauses when it gets quiet
- Support for SDHC cards up to 4GB (Previously you could only use SD cards up to 2GB)
- Convert WAV files to MP3 directly on the unit to save space
- Divide large files
- Normalize files to bring up the volume on the recorder (Depending on the card you're using, this could reportedly take almost as long as recording a new track, so you might be better off waiting until you get to a PC to do this).
- You can now turn off the input signal when using the USB interface mode. In other words, you don't have to hear the mic or line input sound all the time
You can download the supplemental Zoom H4 manual (PDF link) and see in-depth descriptions of all the new features if you want to read up a bit before messing with your recorder's firmware.
The software update does nothing to solve the electric pulsing noise problem when you're running on battery power, so the best solution is still to build your own battery pack. And of course, the Zoom H4 still has a few hardware issues like noisy preamps when using external mics and loud handling noise when using the internal mics.
But this update is still pretty sweet. It certainly makes up for the last disappointing firmware upgrade.
Update: A couple of people have contacted me to let me know they were having problems installing the firmware. So here are three things to make sure you're doing:
- Make sure you check to see what version of the Zoom firmware you're currently using and download the corresponding update file.
- When Zoom says put the update file in the root directory of your SD card, this does not mean the Sys folder. Instead, the file should not go in any folder at all.
- Make sure your Zoom is plugged in when performing the update.
I found yet another video overview of the Sony PCM-D50 digital audio recorder. Producer's Edge Magazine recorded this 10 minute video with a Sony rep at the AES show. Here are a few highlights:
- A/B repeat feature for musicians. You can set a start and end point and have the recorder play the select audio in a loop.
- Digital pitch control
- Pre-record
- 2 hours of record time at 24 bit, 96KHz resolution using the built-in 4GB of memory
- Memory stick expansion
- 4 AA batteries run for 14 hours (He removes the battery tray to show how it slides in and out of the recorder)
- Shows the XLR-1 mic adapter, which makes the unit look a bit frightening (and hard to hold in one hand)
- Low cut filter
- Same limiter feature as the PCM-D50
- No MP3 recording
Mix Magazine has posted a nice video showing off some of the Sony PCM-D50 digital audio recorder's features. I couldn't find a way to embed the video here, so you'll have to check it out over at Mix's site, but here are some of the highlights:
- The Sony PCM-D50 has cheaper mics and preamps than the PCM-D1
- The recorder comes with Sound Forge software for digital audio editing
- It includes a digital pitch control feature that will let you slow down a recording by up to 75% without affecting the tone (great for transcribing audio or learning to play a guitar track)
- A nice explanation of the pre-record feature (in a nutshell, when you enable pre-record, the PCM-D50 is always recording, but it's not saving to the hard drive. When you hit the record button, it will start the recording from 5 seconds prior to the instant you pressed the button).
- You can adjust the mic placement, which is something you can't do on the PCM-D1. When you're in a typical XY pattern, the right mic is recording the left channel and vice versa. But the recorder will automatically adjust that when the mics are pointed outward instead of inward.
It looks like Sony's PCM-D50 digital audio recorder will have a street price of $499. It carries a list price of $599, but a quick look at Pricegrabber shows that most online retailers will be selling it for a hundred bucks less.
Of course, none of these stores actually has the recorder in stock yet, although you can preorder it from several stores. The Sony rep at AES told me the PCM-D50 wouldn't be available until November, but at least one store seems to think that it will be available on October 19th.
The Sony PCM-D50, for the uninitiated, is a stripped down version of Sony's uber-high end PCM-D1 digital audio recorder. It has cheaper preamps, mics, and lacks the fancy VU meters on the front of the unit. But it also costs about 1/4th as much as the PCMD-D1 and if the sample recordings I made in a noisy room are anything to go by, it sounds fantastic.
The PCM-D50 also has some handy features missing from lower end recorders like the M-Audio Microtrack, Edirol R-09, and Zoom H2 and H4. For example, the ability to create new tracks without pausing recordings, an easy to use record volume knob for changing levels on the fly, and a solid metal body that minimizes handling noise when using the internal mics.
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Here's something I totally missed when the Zoom H2 digital audio recorder was first released: it includes a mic-clip adapter. While that might not sound very exciting, it kind of is, and here's why:
- The Zoom H4 cannot be placed on a mic stand. Instead you have to attach a standard camera tripod, making it much harder to use the H4 at a press conference or to record music using a standard mic stand.
- Both the Zoom H2 and the H4 are susceptible to handling noise because the mic is built into the recorder. In other words, move your hands, even a tiny bit as you're holding the recorder and you'll hear a loud noise on the recording. Some users have reported that by holding the mic clip adapter instead of the unit itself, there's little noise.
One caveat though: the screwing mechanism is made of plastic, not metal and might not stand up to wear and tear that well. But you could probably say the same thing for the sub-$200 digital audio recorder you're plugging the handle into as well. At that price it wouldn't necessarily be a disaster if you have to buy a new recorder once every year or two. It'd be nice to know whether you can order replacement handles though.
Want to see the Sony PCM-D50 digital audio recorder up close and personal? While Sony isn't officially launching the device until November, the company had a few units on display at last week's Audio Engineering Society convention in New York, and while I got some audio, the folks over at Sonic State snagged a video interview with one of the Sony reps.
In fact, they got a whole bunch of interviews at AES. You can check out their complete gallery with video from Digidesign, Blue, Mackie, Cakewalk, Ableton, Steinberg, Korg, and others.
[via the comments at Create Digital Music]
Rumor has it that the Asus Eee PC will be released on November 1st. I'm taking this with a grain of salt. First we heard that the tiny Linux-based laptop from Asus would be available in September. Then we heard mid-October. Now that it's nearly mid-October it's not too surprising to hear the date's been pushed back again.
The price keeps going up too. I first got excited about the Eee PC because it sported a $199 price tag. It's not clear whether a $199 version will be available or if the cheapest model will be $259, with pricier models going for up to $399.
That said, the Eee PC is still one of the two bits of hardware coming out in November that I can't wait to get my hands on. Sony is set to release the PCM-D50 digital audio recorder next month, which will satisfy the audio geek in me. The Eee PC should take care of my mobile computing geek side.
What's so cool about the Eee PC? First up, it's a low-cost laptop for under $300. Second, it's tiny, weighing in at just about 2 pounds. That means you also only get a 7-inch screen on the basic model (the pricier models will have 10-inch screens). But this isn't a desktop replacement. Rather, it's a mobile computer that you can throw in a bag and take anywhere.
You don't get a powerhouse for your money. The Eee PC packs a 900 MHz celeron processor, from 256 to 512MB RAM, and from 2GB to 4GB of internal flash memory last we heard. The specs are subject to change. Early on we'd heard that the units would not be upgradeable, but it turns out upgrading the RAM is pretty easy.
One of the first things I did when I bought my Toshiba A135-4527 laptop was to create a partition for Linux. But after having tried several varieties of Ubuntu, Mandriva, and Fedora, I've come to the conclusion that there's not much Linux support for some of the hardware in this PC.
And while a true Linux wiz could probably hack together a solution, I'd rather just buy a system where the hardware and software are meant to work together. The Eee PC runs a custom version of Xandros. I'm not sure if I'll be able to do any sort of audio editing on it, but for $259, it would make a great mobile companion for the times I don't feel like lugging around my 6 pound laptop, power supply and other gear. For example, the Eee PC would be great for blogging from a coffee shop. It's got 802.11b/g and a 4 cell battery that should be good for about 3 hours.
Now I just have to see if my budget will let me buy a $600 professional audio recorder and a $259 laptop in the same month. Might be time to hit up eBay and sell some older equipment.
I tested out a couple of different flash audio recorders at AES yesterday. And while recording conditions weren't ideal on the noisy show room floor, here are the results. Ideally I'd love to take each of these recorders into a quiet room and record an interview and some ambiance, because even the Zoom H4 with its noisy preamp sounded halfway decent with all that background noise.
Fostex FR2-LE using an Electrovoice RE-50 microphone:
The FR2-LE is a trimmed down version of the Fostex FR2. It packs combo XLR/quarter inch inputs, track marking, and most of the features I'd want, on paper. But as you can hear when the gain is turned down the preamps are a bit noisier than I'd hoped.
Sound Devices 702 with RE-50 mic:
The Sound Devices 702 is a high end compact flash recorder. It'll set you back about $2000 but honestly, I've never heard a DAT/minidisc/Flash recorder that sounds as good.
Sony PCM-D50 with RE-50 mic:
The Sony PCM-D50 sounds surprisingly good with an external mic. Although it sports 1/8th inputs, meaning no phantom power, you can get an extraordinarily high record level with a dynamic microphone like the RE-50. That, plus the fact that you can mark tracks on the fly, pre-buffer recordings, and change record levels on the fly makes this an excellent recorder or anyone who likes the convenience of a compact minidisc recorder but wants the sound quality of a DAT or high quality flash recorder.
Sony PCM-D50 with the built-in stereo condenser mics:
The PCM-D50 also has stereo condenser mics built in. If no mic is plugged in, the recorder will use these by default. Plug anything into the mic or line input and they'll shut off. While they're not ideal for recording on a noisy show-room floor (they pick up way too much ambiance and not enough of the people they're pointed at), these mics would be excellent for quick interviews in the field or for recording music or outdoor ambiance. There's an optional wind-screen for $50, and there's almost no handling noise when using the built-in mics, which is a huge problem with the cheaper Zoom H-4.
Zoom H4 using an RE-50:
I brought along my Zoom H4 recorder in order to make a comparison recording. The preamps are pretty noisy and in a quiet recording environment a Zoom H4/RE-50 combination is really less than satisfactory. But because of all the background noise, this recording actually came out pretty decent.
In other words, take all of the other recordings with a grain of salt. That said, I think it's still safe to say that in this limited test the Sound Devices 702 an the Sony PCM-D50 both produced cleaner recordings than the Fostex FR2-LE or the Zoom H4. When you add the PCM-D50's extra features like the ability to create new tracks, change record levels, and switch between internal and external mics, I think it's the clear winner.
If you've got high quality mics that require phantom power, the PCM-D50 probably isn't the way to go unless you've got another $500 to drop on Sony's XLR-1 mic adapter. But for radio producers and podcasters looking for a high quality and affordable device for recording interviews, music, and ambiance, the PCM-D50 looks (and sounds) awesome.
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But a funny thing happened. I fell in love with a different recorder, the new Sony PCM-D50. The D50 is the follow-up to Sony's PCM-D1 recorder.
Like the PCM-D1, the D50 packs 4GB of internal flash memory, a Sony memory stick slot for expanded storage, high quality internal stereo condenser mics, and the ability to record 22.05 kHz, 44.1 kHz, 48 kHz and 96 kHz, 16 and 24 bit WAV audio. But the D50 is about one third the price. While the D1 lists for $1995, the D50 will be available in November and has a list price of $599, which is the same as the Fostex FR2-LE. The street price could be even lower.
So what's the difference between the D1 and D50? The D1 has higher quality mics, old-fashioned analog VU meters, and a few more expensive components under the hood. The D50 has adjustable mics. You can change their position and the recorder will automatically adjust.
Here's a shot of the two recorders side by side:
What does the PCM-D50 have that the FR2-LE doesn't? On paper, not much. In fact, the D50 doesn't even have XLR inputs or offer phantom power for external condenser mics. But here's why I'm leaning toward picking one up in November:- It's compact, fits easily in the hand, and has excellent internal mics, making it great for grab and go recording. The FR2-LE has internal mics too, but they're the kind of mics you'd find on a third rate digital voice recorder. I think my PDA has a better mic.
- When I plugged a dynamic mic into the FR2-LE I had to crank up the gain all the way to get a decent record level. When I plugged the same mic into the PCM-D50, I had to turn the record volume down to 3 or 4 to keep from clipping. This little puppy has some powerful preamps.
- The PCM-D50 automatically detects when you've got an external mic plugged in and switches between the internal and external mic.
- I haven't found a single external mic that sounds good with the H4. The preamps are way too noisy.
- When using the excellent internal mics on the H4, the unit is susceptible to handling noise. I detected almost no handling noise when using the PCM-D50.
- In order to save your track or create a new file on the H4, you have to stop your recording and start a new one, which causes a you to lose a few seconds of audio. The PCM-D50 lets you create new tracks on the fly.
- The PCM-D50 controls are super easy to use, and you can change record levels on the fly with a simple jog dial. On the H4, you have to go through a bunch of software menus which will result in handling noise if you're using the internal mics.
- The H4 has a cheap plastic feel, the PCM-D50 has a sturdy metal feel.
Here are a few more specs:- Runs on 4 AA batteries
- Estimated battery life: 16 hours with headphones, 20 hours without
- Weights 12.88 ounces (including batteries)
- Supports MP3 playback, but does not record to MP3
- Four separate circuit boards to separate analog audio, digital audio, digital recording, and power supply circuits
- Transfer recordings to your computer using USB 2.0
- High pass filter
- 5-second pre buffer when using record pause mode
I'll post the audio tomorrow. Since these recordings were made in a noisy environment, I don't have an answer to my biggest question: which device would sound best in a quiet interview environment. But I'm pretty sure the Fostex FR2-LE doesn't sound enough better than my H4 to justify the price.
Update: Now you can listen to some sample recordings I made in the less than ideal setting of the AES show room floor.
Update 2: It looks like this digital audio recorder is getting a street price of $499.
Update 3: Sony has started shipping the PCM-D50, and I should be getting mine in early December, so expect a comprehensive review soon.
Update 4: It's here!
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I knew the Marantz PMD620 was small. But so far I hadn't seen any photos of the device comparing it to other objects, so we couldn't say just how small.
Susan A. Kitchens of Family Oral History Using Digital Tools got a chance to check out the 620 last week and she uploaded a photo of the flash recorder in her hand. And I have to say, it makes my Zoom H4 look huge.
Not too much else to report. She plugged in a mic and headphones and the PMD620 sounded decent. But it's hard to really test things like the mic preamps when you're recording in a noisy setting like a showroom floor.
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The Zoom H2 Handy Recorder has been shipping for a few days now. This unit is a followup to Zoom's H4 Handy Recorder. It's smaller, lighter, seems to have a sturdier plastic case, can record 4 channels at once (instead of 2), and costs about $100 less.
First off, let me say that I do not own a Zoom H2 at this point, and after reading the initial reviews, I'm probably not going to buy one. But for a reporter/podcaster/musician on a budget, the H2 looks like a great step up from low-end minidisc recorders. This $199 flash-based recorder actually costs less than most of the minidisc recorders on the market today (although it's not cheaper than whatever used model you might want to pick up from eBay), but seems to pack most of the best features of a minidisc, and then some.
- Record in 16-bit or 24 bit at 44.1, 48, or 96kHz
- Record in WAV or MP3
- Time Stamp and Track Marker functions in BWF format (Broadcast Wave Format)
- Record in stereo or 4-way mode with the built-in 4 mic capsules
- Ships with a 512MB SD card (the Zoom H4 includes only a 128MB card), and supports cards up to 4GB (The H4 can only handle 2GB)
- Low-cut filter to help reduce wind noise
- USB 2.0 connectivity for transferring files to your computer
- Acts as a USB audio input for your computer, allowing you to record audio on your computer from the internal mic, an external mic, or the line input
Sounds great, right? Well, sort of. I'll wait to hear more recordings before passing final judgment, but so far, one user has made a sample recording and posted it online. There's a noticeable hiss in this recording, which sounds comparable to the hiss I usually get with minidisc recorders. This recording was made using the built-in microphone. Using the internal mics on the H4, I don't get this hiss.
From this sample recording, it doesn't sound to me like the H2 has the same electronic pulsing noise you get from the H4 when running on battery power. But there was a relatively easy fix for that.
I would love to hear some samples recorded using external microphones. But I'm not optimistic that the hiss will go away. If anything, I would expect it to be louder due to the cheap preamps included in a $199 device. While the Zoom H4 uses combination XLR/quarter inch inputs, the H2 uses 1/8th inch inputs. I'm not happy with the preamps on the H4, but unless the H2 sounds amazing with external mics, I'll probably just keep my minidisc recorder for situations when I can't use the internal mic on my H4.
That said, it would be nice to be able to record direct to WAV or MP3. So perhaps I'll crack and pick one of these up at some point, although right now I'm leaning toward the Fostex FR2-LE, which is larger, sturdier, has more input options, and reportedly has a great set of preamps.
If small size is your thing though, the H2 is pretty tiny. Here are some photos from a user who placed it next to the H4 and an iPod Nano.
The Zoom H2 is distributed in the US by Samson, who has been kind enough to post the entire instruction manual online in PDF format.
Related Posts:
- Transom reviews the Zoom H2
- More Zoom H2 reviews roll in: some users have better results than others
- Videos of the Zoom H2 in action
- Zoom H4 review
- Samson announces the Zoom H2
- A few Zoom H4 complaints
- 5 gadgets for producing radio or podcasts on the cheap
- Building an external battery pack for the Zoom H4 or other electronic devices