Questions about Interfaces in general and the Zoom R24

T

thecolorofdave

New member
Hi,

I have a Zoom R24, love the machine for its portability and ease of use, its great for if I want to set up a mobile shop, and track some tunes out of house. Also use it in studio at home. However, Ive recently been wondering about the preamps in the thing, and what difference there is between the R24 interface and something like a focusrite interface, RME Fireface unit.

Will the preamps built into my Zoom color my tracks differently than those of another inferface? How poor is the quality of track of the Zoom in comparison...

If I were to purchase a mid-t-high range microphone pre amplifier and use this with my Zoom, would I be removing from the quality of the preamp because it has to go through my Zoom and into the computer, or will an interface act more neautral (just transfer tracks to computer), and the high quality preamp would do its job?

Again, I love the portability of the zoom; Im planning on taking on some recording projects in the new year, and I want to be able to create a high-end sounding product with the gear I do have. I understand performance and musician capabilities are a huge part in making a song a good song, I want to make sure I can bring to life that performance as best I can with what I have to use.

Thanks for your advice in advance,

Dave

EDIT: Ive been looking into 8mic Pre Amps like the ART MX821s (super bargain :/) the Art Tube Opto 8 and Focusrite Octopre MkII for affordable solutions to preamps, and also looking into renting high-end pre amps for periods of time like the API 3124+, True Systems Precision 8, UA SOLO610... Obviously renting the high end ones would be awesome, but would they sound good coming through my Zoom?

Thanks again.
 
The zoom r24 has 16 and 24bit / 44.1khz and 48khz -- where as something like the RME has 24bit - 192khz; recording at 44.1khz isn't so bad though right? albums have been made at 44.1khz? Would this be one of the major differences?

Im talking about sound quality, not so much the technical features. Strictly, input/output quality. Would the Zoom do the trick as the centerpiece to a studio?
 
The question I don't know the answer to on the Zoom: as it does not have dedicated line inputs, does using a 1/4" (unbalanced) plug into one of the 8 combo inputs bypass the mic preamp, or does it just put a pad on it?
If it bypasses the mic preamp, then using a higher quality mic preamp (not necessarily those ART units) could indeed improve the recorded sound (but not all mics and mic preamps work well together, right?)
 
I don't know if this helps you but I happen to have the Zoom R16 which uses the same pre-amps as the R24. I've done a fair number of hours recording on the R16 and a Tascam DP24.........which is all I can use to compare with. The pre's on the R16 are really not bad but the noise level is not as good as some others. By comparison.........the DP24 pre's have a better noise level.

When using the R24......if you keep the pre-amp gain all the way down and use any other inbound pre I'm fairly sure that you'll get no coloration from the R24 pre's or change to the coloration. Having said that however........I wouldn't go out and invest in much better pre's and expect to hear a huge difference in coloration. If you like your sound now and you're not having noise level issues when adjusting your levels.........you might want to spend that money on something else. Just my 2 cents.
 
As far as I can make out from the poorly written specification, the R24 has unbalanced line inputs with a maximum input level of only +4dBu. The unit is therefore essentially operating at "domestic" -10dBV levels.
Since any mic pre worth its Wonga will operate at "pro" +4dBu levels as a STARTING point you will be a bit at sea re gain staging. Also, since the unit uses combi XLRs the line ins are indeed padded down inputs to the mic amps. Not that that need be a bad thing, depends how good the pres are!

If you are going for better quality kit (and I would not put the ARTs in that bracket) best to go the whole hog IMHO.

Use 44.1kHz for everything. There are some technical advantages to higher sample rates for certain FX but despite the millions of words written to defend it, 96kHz+ has never been proved to be audibly superior.

Dave.
 
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