Yamaha AW16 or Zoom MRS1266CD

[billisa]

So what do you think? In terms of sound quality, effects, build quality, ease of use -- which would you choose? I am attracted by the Zoom's on-board drums/bass, although ultimately sound quality is most important. I'm assuming I can load drum/bass samples onto the AW16 if I need to, plus it has waveform editing (i believe). But overall impressions would be very helpful.

 

[DKMurphPr]

I have a Zoom MRS1266CD and I think it is a great machine.

Capable of recording up to six tracks simultaneously. 2 xlr inputs(with phantom power available), 2 Hi-Z inputs, 6 1/4" inputs.

8 mono tracks, 1 stereo track, 1 stereo master track. Each track has 10 virtual tracks.

Dedicated tracks for the drum/bass machine.

Lots of insert, send/return, and mastering effects.

Optional USB board

The usual track editing features.

I have heard that you can save money by getting the zoom without a CDR/RW drive and install one yourself. Of course, I heard this AFTER buying mine with CD

I have been impressed with the Zoom. A great value for the price.

No doubt, Green Hornet will be telling you all about the AW16G

 

[The Green Hornet]

Yo Murph & Billisa:

I've read hot and cold things about ZOOM products. I think the AW16 will record 8 tracks at once -- Dinsdale and his site will verify that one.

If I were to replace my 2816, I'd get a box that has 16 real tracks with 16 faders if I went for the SIAB again.

But, buying gear is a learning process -- and if a unit does what you need to do, and it gives you good sound, that's the important thing.

I've still got my Yamaha DX-7 in the studio -- a wonderful synth -- after I got to understand how it works, which took a couple of years -- another learning process.

I think the folks on this site help keep the economy going.

Green Hornet

 

[gleason]

Price wise, you can get a 1266 for 700-800 with the cd drive. (Go to best and get a CDRW and put it in yourself. The 1266 actually comes with the CDRW mounting brackets.) I think the Yamaha is in the 1000-1100 range.

I've got the 1266 and am happy with it, but haven't done any serious work on it yet. I just finshed the manual (almost 200 pages) and it does a lot! Built in drums, bass, chorus, reverb/delay and a bunch of insert effects, track editing. I'd recommend the USB card (I haven't bought one yet) so you can access all the recorded 1266 files from your PC. 1266 comes with a program to convert between the 1266 format and mono and stereo .WAV files.

Another difference is the zoom has 2 band EQ, the yamaha has 4.
1266 records 6 at a time, yamaha all 8. The 1266 has 3 additional tracks for the drum/bass and another 2 for master tracks plus 2 more for tracking (tracks 9 & 10). Both have 20GB hard drives.

I don't think you'll go wrong with either machine. My decision was limited my budget.

Let us know what you do. SOme store in Milwaukee had the yamaha for 999. Don't know if thats the best price or not.

Good luck.

 

[Alan McGuinness]

Guys sorry to jump on the thread, but I kinda promised a report on what “Future Music Magazine” had to say about the 1266.

Now I aint gonna bore you with a three page seminar, but the bottom line is this:

Zoom 1266:

Build Quality: 8
Value for money: 7 (That just don’t make sense)
Ease of use: 8
Sound/Results: 7

Brief summary:
A workmanlike, self-contained digital recording workstation with powerful facilities for constructing rhythmic backing tracks.


Same magazine did one on the AW16G:

Yamaha AW16G:
Build Quality: 8
Value for money: 9
Ease of use: 8
Sound/Results: 9

Brief summary:
A powerful and versatile self-contained digital production package, with a mix of facilities that belies its price tag.

To be a bit more objective here for a moment, one thing I have noticed over time with this particular mag, (well a few things actually) Is they seem to have an attitude towards anything that is not the best of the best. In this case “its no 4416 or 2480” which is like trying to compare apples to oranges. Plus the guys who do the reviews do LOVE there Roland gear and tend to WORSHIP all things Steinberg, Cubase in particular.

Bottom line:
Bang per buck, the 1266 is a great tool, especially from a bedroom musician point of view.
On the other hand the AW16G wins on the sound quality vote.
That seems to be the general consensus of opinion, from this and other magazines/reviews.

Alan.

 

[billisa]

Sound Quality?

That's a very important consideration. I read the FM review of the 1266, saw the 7 they gave for sound quality and wondered what they meant in giving that rating (compared to the 9 for the Yamaha). I think they said the sound on the 1266 was "decent" but "decent" is not what I had in mind. I'd rather have fewer bells and whistles and better sound. Any thoughts?

 

[Dinsdale]

I don't think anyone at www.aw16g.com has paid more than $999 for their 16G. I got mine for $860, and most people now are getting them for around $900 I'd say. If you end up going for the 16G, check out our forum because there are some good threads on where to buy it.

From my experience with the 16G so far, I'd say the sound quality is excellent, although I can't directly compare it to anything other than a Tascam 414 4-Track that I've used. The build quality is excellent, and although the manual is just like any other manual (somewhat lacking) it's pretty easy to use.


-Dinsdale

 

[Cratinus]

for a 16-bit "all-in-one" recorder,...i don't know if it's gonna get ANY better than the AW16G. the dynamics and eq for EVERY channel make it worth the cash. toss in 24-bit converters, scene automation and some some creative "sample-pad" applications and you have room to explore practically EVERY creative urge you can conjur up. maybe some $1200 24-bit 16 track workstation will come along in 6-12 months and kick the crap out of everything on the market....but,...
UNTIL THEN.......the AW16g is a pretty handy little box.

p.s. i am not putting down the Zoom recorder. i just don't know much about it. i DO own that little Zoom Sampletrak sampler which i consider to be one of the greatest budget gadgets ever to hit the music market.