Using the 16 bit/44.1 kHz and WAV format setting , the recording time per gigabyte of storage space is about 200 minutes for one mono track (*1). Using the 24 bit/44.1 kHz and WAV format setting, the time is about 133 minutes (*2).
The driver package provides the installation files for Zoom R16 R24 Recorder Audio Driver 2.0.0 For Windows Xp-10 64-bit system. If you consider updating this driver package by Driver Genius, all you need to do is clicking the Update button beside this driver update. Driver Genius will install the driver automatically, smoothly and silently. R16R24 Driver is a program offered by the software company ZOOM. Some computer users want to erase it. This is efortful because removing this by hand requires some skill regarding Windows program uninstallation. One of the best EASY approach to erase R16R24 Driver is to use Advanced Uninstaller PRO. R16R24 Driver is an application released by the software company ZOOM. Frequently, users want to erase this program. Sometimes this can be efortful because uninstalling this by hand requires some knowledge regarding Windows internal functioning. The best EASY solution to erase R16R24 Driver is to use Advanced Uninstaller PRO.
With the Zoom, under Sound Device, when I select Core Audio (Wave RT), I can select the Zoom R24 as Input and Output, but can't get any signal to register. I understand ASIO is probably the better way to go for this. When I select the ASIO driver, the ASIO Device shows the Zoom R24, but Input and Output are blank - no devices to select. The Zoom R24 is the ultimate solution for creators looking to make their mark on the world. It provides everything you need to make professional studio-quality recordings: a 24-track recorder, a pad sampler, a rhythm machine, a DAW control surface and a computer audio interface, all in one portable unit.
*1: When recording on all 16 tracks, a song of about 12 minutes 30 seconds can be created.
*2: When recording on all 16 tracks, a song of about 8 minutes 20 seconds can be created.
Regardless of the number of tracks, the maximum continuous recording time is 4 hours.
You should use the SWAP function for swapping data among tracks. Simply transfer the recorded guitar track content (TRACK 1) to another empty track and then use track 1 again. This lets you easily create multiple tracks.
Press the [UNDO/REDO] key to cancel the immediately preceding recording operation. For details, see page 16 of the Operation Manual.
NOTE: To redo only a portion of a track, use punch-in/punch-out recording. For details, see pages 29-30 of the Operation Manual.
This happens when there is not enough free capacity on the SD card. Insert a new SD card or erase some data from the card to free up space.
If playback is conducted while an audio track is set to REC status (armed to record), a temporary file will be created on the R24. If the SD card does not have enough space, the temporary file may fill the card, causing the recorder to stop. If this occurs, cancel the REC status of the audio track.
Yes, the R24 has a built-in clock and can append date and time information to recorded files. The clock should be set to the correct date and time, as described on page 14 of the Operation Manual.
NOTE: The date/time of the clock will be reset if the R24 is without power for more than one minute.
When using the built-in microphones, physical vibrations caused by very low-frequency sounds can be recorded as distortion. When setting up the R24, avoid locations that could be subject to vibrations from loudspeakers or a drum set, for example. Placing the unit on a soft cloth might also help reduce vibrations.
No, the R24 does not have a scene memory function.
NOTE: The mixer settings for each project are stored automatically when the project is completed.
Yes, this is possible by using the dedicated switch. The main output then will carry only the audio tracks without the metronome sound, and the headphone output will carry both the audio tracks and the metronome sound. For example, a backing track recorded on the R24 could be sent to the sound system of a concert venue, while the performers could monitor the metronome sound with headphones as a guide rhythm. The unit can also output a click track imported from a computer instead of the metronome sound. For details, see page 36 of the Operation Manual.
Yes, it can. From the [TOOL] menu, access the [METRONOME] settings and select [LEVEL]. You can adjust the metronome volume in a range between 0 and 100. For details, see page 36 of the Operation Manual.
The mark information is memorized by the recorder using hour/minute/second/millisecond information. The corresponding bar/beat/tick indication is calculated for every locate operation, based on the tempo and beat information from the rhythm section. This calculation may result in a slight error. To perform a more precise locate operation, specify the mark point using the hour/minute/second/millisecond indication.
The tuner function can be used, but the metronome function is not available while using the audio interface function of the unit.
If the DAW application has a throughput function (routing the input signal through to the output during recording), be sure to turn this function off. If the function is enabled, the direct output from the R24 and the throughput signal from the DAW application are heard together, which causes the flanger-like sound.
No, this is not supported. The audio interface function and the recorder function cannot be used simultaneously.
When using the audio interface function to input audio using the R24, the computer is usually set to also output sound via the R24. In this case, the speakers should be connected to the outputs of the R24, rather than directly to the computer.
When used as an audio interface, the R24 uses the sampling rate setting of the DAW software. To change the sampling rate setting for Cubase LE, access the project menu and open the project settings window.
For information on SD/SDHC cards whose operation has been verified, please see here.
No, the R24 does not have an audio editing function. File operations such as copy, delete, and split are possible, but partial editing of audio content is not possible. To edit audio data, use the included Cubase LE software application or another DAW.
No, this is not supported. Synchronization is only possible with another R24 or R16.
No, this is not supported. Synchronization is only possible with one other R24 or R16.
Zoom R24 Driver Mac
The audio interface and control surface functions can be powered via a USB connection to a computer. The recorder function of the R24 cannot operate on USB bus power.
NOTE: With some computers, power supplied to the R24 by USB might be insufficient for using its phantom power capabilities. In such cases, operate the R24 using the AC adapter.
Yes, this is not a problem. The batteries will not be used up in this case.
Yes. However, please note that the R24 cannot charge such batteries. You should therefore use a commercially-available charger designed for the batteries you are using. In addition, to ensure that the remaining battery capacity is indicated correctly by the R24, set the 'BATTERY TYPE' item in the 'SYSTEM' menu to 'Ni-MH'. For details, see page 103 of the Operation Manual.
Some computer-based media player software does not support playback of 24-bit WAV files. Please verify which formats are supported by the media player software that you are using.
This is a special kind of connector that can accept two different kinds of plugs, XLR input for microphones and phone input for line-level sources. Channels 5/6 have a PHANTOM switch which provides phantom power capability for professional quality condenser microphones, and channel 1 has a Hi-Z switch for direct connection of a guitar, bass, or other instrument. Consequently, the R16 supports all kinds of input sources.
Yes, the dedicated soft carrying case SCR-16 is available separately as an option. Please contact your nearest ZOOM dealer.
No, SDXC cards (a new higher capacity standard) are not supported. The R16 supports SD cards (16 MB - 2 GB) and SDHC cards (4 GB - 32 GB).
Chon full album downloader. Little tutorial on how to use an external effects processor, reamp using a real amp and use SMPTE code to midi sync, all by using the 'hidden output' of the R8 (and R24).
Outputs
The outputs of the Zoom R series multitrack recorders are very limited.
Basically you got your stereo out and your phones out and that's it.
Wouldn't it be nice to have individual outputs for each track or a sub-out to carry a mix that is separate from the master out etc.
No unfortunately we've got just the above mentioned 2 outputs and they seem to carry exactly the same signal.
However, just looking at the input section of the panel layout you may notice there's a 'metronome' switch that lets you choose between 'output + phones' and 'phones only'.
The metronome can be 'routed' to the phones output only and it looks like you can have a different output signal on the stereo out and the phones out, it may be just the metronome but still.
If you look a little further to the input section of the panel layout you'll also find that if you set the switch to phones only the balance knob can be used to set the balance between master and click.
This means that when the balance knob is turned all the way to the right (click) the only thing which is heard through the phones out is the metronome.
The result is that we got 2 completely different signals, on the stereo output we've got the master signal and on the phones output we've got the metronome.
This option may come in handy when you want to have your drummer hear the click at a live gig and have the master (without click) send to a PA system but other than that it doesn't appear to be very useful but stay tuned; there are some side effects with some interesting possibilities.
The click track
In the old days a click track was really a track that took one of the tracks on a multi-track tape with the recorded sound of a metronome.
Zoom must have had this in mind when they implemented the options for the metronome sound.
Apart from choosing sounds like 'Bell', 'Stick' etc. there is also an option to choose a track as the metronome sound.
1. Press tool
2. Select metronome
3. Adjust the sound setting to a track
More info R8 manual page 20 or R24 manual page 36.
You may think the first beat/second is used as metronome sound but that's not the case if you choose a track as metronome sound, it is just played like any other track.
This gives you the ability to import a click track from a DAW being just a wav file with a recorded metronome sound.
Of course if you choose 'phones only' for the metronome, the track set as metronome sound source is no longer routed to the master output.
This may be confusing because although a track is set to playback (green led) and the fader is all the way up, you still won't hear it over the stereo (master) output.
To summarize what we got so far:
We got 2 completely different signals routed to the stereo out and the phones out.
One being the master signal to the stereo out and one being the metronome to the phones out.
If we choose a track as metronome sound this track is then routed to the phones out only and all other tracks are mixed and send to the master stereo out.
For those of you using a R16, the option of choosing a track as metronome sound is R8 and R24 only, it is not possible with the R16.
Unconventional
What we learned so far is that the unit can output a click track imported from a computer instead of the metronome sound to the phones output only and this imported click track is just an ordinary audio wav file assigned to a track.
And here starts a little magic when we use this feature in an unconventional way; if it's just an ordinary wave file assigned to a track than any track can be routed this way.
If we have vocals recorded on track 1 we could route the vocals to the phones out only completely separated from the rest.
Having an isolated output suddenly opens up all sorts of possibilities!
How about sending this to an external effects processor like a reverb or reamping a dry recorded guitar track using any guitar multi-effect modeler you like.
And last but not least you could record a SMPTE signal to a track and route it to a SMPTE to MTC converter and have all your MIDI gear in sync.
Let your imagination run free and you will think of more.
The nice thing about the R8 is that you can mix the 2 inputs to the final mix which means that when you use an external processor you can use its output real time during the mix, the R24 won't allow this and you might need to record it first.
Next I will give you some examples how to set it up.
External effects processor
With the above method it's simple to run an isolated track through an external effects processor.
Just keep a few things in mind such as that the isolated track routed to the phones out is not part of your mix so it's important to use the mix knob of the effects processor (almost every effects processor has one).
You can adjust the phones output level so it matches the input level of the effects processor to avoid clipping with the PHONES control on the rear panel.
Simply connect the output of the effects processor to the inputs of the R8 and mix it with the other tracks, the inputs of the R8 as opposed to the R24 can be active without arming tracks.
The inputs can also be panned all the way left and right separately from the tracks which gives you the maximum advantage of your effects processors stereo output.
It's not clearly written in the manual but you can do so by pressing the pan/eq button and then selecting the inputs with the left cursor key or by pressing the input on/off switches.
Because of these flexible inputs you can use this setup 'live' during your final mix no need to record the output of the effects processor and you can adjust your effect processor setting while you go.
Finally remember to always keep the balance knob of the R8 all the way to the right (click) to avoid an endless loop of feedback as you don't want the output of the effects processor being send again to its input.
1. Phones out isolated track to external effects processor input
2. External effects processor with balance between original sound and effect sound adjusted with the MIX control.
3. Stereo output of effects processor to input 1 & 2 panned all the way left and right
Reamping
Reamping is a technique in which for example a guitarist records a dry, un-processed, un-effected track and at a later time, the recording is fed to a dedicated guitar amplifier and/or effects box(es) to 're-record' the guitarist's unprocessed performance.
It has the advantage that settings and tones can be adjusted later while the guitarist does not have to play his part over and over again and you can experiment to get the best tone suiting the final mix.
Now you may not realize this but the R8 can do this all along on its own.
It's because the insert effect guitar algorithms (equivalent to the G2Nu) can also be applied to an already recorded track (see 'Using the insert effects on tracks' on page 45).
Recording the result on a different track is basically reamping using the internal effects processor.
However sending the isolated guitar track to the phones out will let you reamp outside the box.
It gives you the ability to use anything you like for reamping even a real genuine tube amp.
Of course you can do this during your final mix but you could also really re-record it, it's all up to you.
TIP: use the internal insert effects only for monitoring (page 89) while you record your unprocessed guitar signal to still have some sort of guitar tone as recording a dry guitar tone can prove to be very boring.
Reamp example 1: using an external guitar processor
1. Phones out isolated guitar track to external guitar effects processor input
2. Guitar effects processor/modeler
3. Stereo output of guitar effects processor to input 1 & 2 panned all the way left and right
You may want to re-record it to a different track
This is a great way to dial in tones because you can completely concentrate on your tone without having to hold a guitar.
And another great thing is that although you're routing this as being a metronome track the track sequencer still works for this track.
This means you could just record one riff and have it loop all day while you do your tweaking.
Reamp example 2: using a real tube amp
Zoom R16 Software
1. Phones out isolated guitar track to input of guitar amplifier
2. Guitar amplifier
3. Microphone recording the sound coming from the amps speaker
You may want to record it to a different track
SMPTE MIDI sync
In this age and time of DAW's, syncing midi devices directly to a multitrack recorder isn't that popular anymore and because the R8 can operate as an audio interface it's more or less superfluous.
Still some of us prefer not to use a computer.
With the introduction of the R-series multitrack recorders Zoom decided to no longer support midi sync as opposed to the HD series.
If you still want midisync without using a computer you're left with one option and that's using SMPTE code.
In the old days an audio sync tone version of SMPTE called linear or longitudinal time code (LTC) was recorded on a track of a multitrack tape recorder.
Played back it was converted back again to MTC (Midi Time Code) and used to sync all sorts of midi gear.
In fact the recorded SMPTE signal is basically a more complex kind of click track as it is also a way to keep 'track' of time using an audio signal.
Now it may be a bit old-fashion and it might be hard to find a SMPTE to MTC converter these days but it's still a method that works remarkably well and as long as Zoom doesn't reinvent midisync it's an alternative.
Good SMPTE to MTC converters are the Phil Rees TS1, JLCooper PPS-2 or MOTU MIDI Express XT and you may find these reasonable cheap on eBay.
Of course we want this audible string of zero's and one's completely separated from the rest so our isolated track output to phones only method is just the way to go and luckily we can use it otherwise we couldn't use SMPTE/LTC at all.
1. Phones out isolated SMPTE/LTC track to input of SMPTE to MTC converter
2. SMPTE to MTC converter
3. MIDI cable, SMPTE to MTC converter MIDI OUT to Drum computer MIDI IN
4. Drum computer or any other MIDI device that can do MIDI sync
5. Stereo out of drum computer to input 1 & 2 panned all the way left and right
Zoom R24 Driver Download
Going stereo
And there's more, apart from selecting a single track as metronome you can also select a pair of tracks like Track 1/2, Track 3/4, Track 5/6 and Track 7/8.
This gives even more options like feeding a stereo signal to an external effects processor.
Remember the phones out is of course a stereo output (jack) and you need a stereo to mono splitter to begin with.
Zoom R24 Drivers Windows 10
NOTE: The date/time of the clock will be reset if the R24 is without power for more than one minute.
When using the built-in microphones, physical vibrations caused by very low-frequency sounds can be recorded as distortion. When setting up the R24, avoid locations that could be subject to vibrations from loudspeakers or a drum set, for example. Placing the unit on a soft cloth might also help reduce vibrations.
No, the R24 does not have a scene memory function.
NOTE: The mixer settings for each project are stored automatically when the project is completed.
Yes, this is possible by using the dedicated switch. The main output then will carry only the audio tracks without the metronome sound, and the headphone output will carry both the audio tracks and the metronome sound. For example, a backing track recorded on the R24 could be sent to the sound system of a concert venue, while the performers could monitor the metronome sound with headphones as a guide rhythm. The unit can also output a click track imported from a computer instead of the metronome sound. For details, see page 36 of the Operation Manual.
Yes, it can. From the [TOOL] menu, access the [METRONOME] settings and select [LEVEL]. You can adjust the metronome volume in a range between 0 and 100. For details, see page 36 of the Operation Manual.
The mark information is memorized by the recorder using hour/minute/second/millisecond information. The corresponding bar/beat/tick indication is calculated for every locate operation, based on the tempo and beat information from the rhythm section. This calculation may result in a slight error. To perform a more precise locate operation, specify the mark point using the hour/minute/second/millisecond indication.
The tuner function can be used, but the metronome function is not available while using the audio interface function of the unit.
If the DAW application has a throughput function (routing the input signal through to the output during recording), be sure to turn this function off. If the function is enabled, the direct output from the R24 and the throughput signal from the DAW application are heard together, which causes the flanger-like sound.
No, this is not supported. The audio interface function and the recorder function cannot be used simultaneously.
When using the audio interface function to input audio using the R24, the computer is usually set to also output sound via the R24. In this case, the speakers should be connected to the outputs of the R24, rather than directly to the computer.
When used as an audio interface, the R24 uses the sampling rate setting of the DAW software. To change the sampling rate setting for Cubase LE, access the project menu and open the project settings window.
For information on SD/SDHC cards whose operation has been verified, please see here.
No, the R24 does not have an audio editing function. File operations such as copy, delete, and split are possible, but partial editing of audio content is not possible. To edit audio data, use the included Cubase LE software application or another DAW.
No, this is not supported. Synchronization is only possible with another R24 or R16.
No, this is not supported. Synchronization is only possible with one other R24 or R16.
Zoom R24 Driver Mac
The audio interface and control surface functions can be powered via a USB connection to a computer. The recorder function of the R24 cannot operate on USB bus power.
NOTE: With some computers, power supplied to the R24 by USB might be insufficient for using its phantom power capabilities. In such cases, operate the R24 using the AC adapter.
Yes, this is not a problem. The batteries will not be used up in this case.
Yes. However, please note that the R24 cannot charge such batteries. You should therefore use a commercially-available charger designed for the batteries you are using. In addition, to ensure that the remaining battery capacity is indicated correctly by the R24, set the 'BATTERY TYPE' item in the 'SYSTEM' menu to 'Ni-MH'. For details, see page 103 of the Operation Manual.
Some computer-based media player software does not support playback of 24-bit WAV files. Please verify which formats are supported by the media player software that you are using.
This is a special kind of connector that can accept two different kinds of plugs, XLR input for microphones and phone input for line-level sources. Channels 5/6 have a PHANTOM switch which provides phantom power capability for professional quality condenser microphones, and channel 1 has a Hi-Z switch for direct connection of a guitar, bass, or other instrument. Consequently, the R16 supports all kinds of input sources.
Yes, the dedicated soft carrying case SCR-16 is available separately as an option. Please contact your nearest ZOOM dealer.
No, SDXC cards (a new higher capacity standard) are not supported. The R16 supports SD cards (16 MB - 2 GB) and SDHC cards (4 GB - 32 GB).
Chon full album downloader. Little tutorial on how to use an external effects processor, reamp using a real amp and use SMPTE code to midi sync, all by using the 'hidden output' of the R8 (and R24).
Outputs
The outputs of the Zoom R series multitrack recorders are very limited.
Basically you got your stereo out and your phones out and that's it.
Wouldn't it be nice to have individual outputs for each track or a sub-out to carry a mix that is separate from the master out etc.
No unfortunately we've got just the above mentioned 2 outputs and they seem to carry exactly the same signal.
However, just looking at the input section of the panel layout you may notice there's a 'metronome' switch that lets you choose between 'output + phones' and 'phones only'.
The metronome can be 'routed' to the phones output only and it looks like you can have a different output signal on the stereo out and the phones out, it may be just the metronome but still.
If you look a little further to the input section of the panel layout you'll also find that if you set the switch to phones only the balance knob can be used to set the balance between master and click.
This means that when the balance knob is turned all the way to the right (click) the only thing which is heard through the phones out is the metronome.
The result is that we got 2 completely different signals, on the stereo output we've got the master signal and on the phones output we've got the metronome.
This option may come in handy when you want to have your drummer hear the click at a live gig and have the master (without click) send to a PA system but other than that it doesn't appear to be very useful but stay tuned; there are some side effects with some interesting possibilities.
The click track
In the old days a click track was really a track that took one of the tracks on a multi-track tape with the recorded sound of a metronome.
Zoom must have had this in mind when they implemented the options for the metronome sound.
Apart from choosing sounds like 'Bell', 'Stick' etc. there is also an option to choose a track as the metronome sound.
1. Press tool
2. Select metronome
3. Adjust the sound setting to a track
More info R8 manual page 20 or R24 manual page 36.
You may think the first beat/second is used as metronome sound but that's not the case if you choose a track as metronome sound, it is just played like any other track.
This gives you the ability to import a click track from a DAW being just a wav file with a recorded metronome sound.
Of course if you choose 'phones only' for the metronome, the track set as metronome sound source is no longer routed to the master output.
This may be confusing because although a track is set to playback (green led) and the fader is all the way up, you still won't hear it over the stereo (master) output.
To summarize what we got so far:
We got 2 completely different signals routed to the stereo out and the phones out.
One being the master signal to the stereo out and one being the metronome to the phones out.
If we choose a track as metronome sound this track is then routed to the phones out only and all other tracks are mixed and send to the master stereo out.
For those of you using a R16, the option of choosing a track as metronome sound is R8 and R24 only, it is not possible with the R16.
Unconventional
What we learned so far is that the unit can output a click track imported from a computer instead of the metronome sound to the phones output only and this imported click track is just an ordinary audio wav file assigned to a track.
And here starts a little magic when we use this feature in an unconventional way; if it's just an ordinary wave file assigned to a track than any track can be routed this way.
If we have vocals recorded on track 1 we could route the vocals to the phones out only completely separated from the rest.
Having an isolated output suddenly opens up all sorts of possibilities!
How about sending this to an external effects processor like a reverb or reamping a dry recorded guitar track using any guitar multi-effect modeler you like.
And last but not least you could record a SMPTE signal to a track and route it to a SMPTE to MTC converter and have all your MIDI gear in sync.
Let your imagination run free and you will think of more.
The nice thing about the R8 is that you can mix the 2 inputs to the final mix which means that when you use an external processor you can use its output real time during the mix, the R24 won't allow this and you might need to record it first.
Next I will give you some examples how to set it up.
External effects processor
With the above method it's simple to run an isolated track through an external effects processor.
Just keep a few things in mind such as that the isolated track routed to the phones out is not part of your mix so it's important to use the mix knob of the effects processor (almost every effects processor has one).
You can adjust the phones output level so it matches the input level of the effects processor to avoid clipping with the PHONES control on the rear panel.
Simply connect the output of the effects processor to the inputs of the R8 and mix it with the other tracks, the inputs of the R8 as opposed to the R24 can be active without arming tracks.
The inputs can also be panned all the way left and right separately from the tracks which gives you the maximum advantage of your effects processors stereo output.
It's not clearly written in the manual but you can do so by pressing the pan/eq button and then selecting the inputs with the left cursor key or by pressing the input on/off switches.
Because of these flexible inputs you can use this setup 'live' during your final mix no need to record the output of the effects processor and you can adjust your effect processor setting while you go.
Finally remember to always keep the balance knob of the R8 all the way to the right (click) to avoid an endless loop of feedback as you don't want the output of the effects processor being send again to its input.
1. Phones out isolated track to external effects processor input
2. External effects processor with balance between original sound and effect sound adjusted with the MIX control.
3. Stereo output of effects processor to input 1 & 2 panned all the way left and right
Reamping
Reamping is a technique in which for example a guitarist records a dry, un-processed, un-effected track and at a later time, the recording is fed to a dedicated guitar amplifier and/or effects box(es) to 're-record' the guitarist's unprocessed performance.
It has the advantage that settings and tones can be adjusted later while the guitarist does not have to play his part over and over again and you can experiment to get the best tone suiting the final mix.
Now you may not realize this but the R8 can do this all along on its own.
It's because the insert effect guitar algorithms (equivalent to the G2Nu) can also be applied to an already recorded track (see 'Using the insert effects on tracks' on page 45).
Recording the result on a different track is basically reamping using the internal effects processor.
However sending the isolated guitar track to the phones out will let you reamp outside the box.
It gives you the ability to use anything you like for reamping even a real genuine tube amp.
Of course you can do this during your final mix but you could also really re-record it, it's all up to you.
TIP: use the internal insert effects only for monitoring (page 89) while you record your unprocessed guitar signal to still have some sort of guitar tone as recording a dry guitar tone can prove to be very boring.
Reamp example 1: using an external guitar processor
1. Phones out isolated guitar track to external guitar effects processor input
2. Guitar effects processor/modeler
3. Stereo output of guitar effects processor to input 1 & 2 panned all the way left and right
You may want to re-record it to a different track
This is a great way to dial in tones because you can completely concentrate on your tone without having to hold a guitar.
And another great thing is that although you're routing this as being a metronome track the track sequencer still works for this track.
This means you could just record one riff and have it loop all day while you do your tweaking.
Reamp example 2: using a real tube amp
Zoom R16 Software
1. Phones out isolated guitar track to input of guitar amplifier
2. Guitar amplifier
3. Microphone recording the sound coming from the amps speaker
You may want to record it to a different track
SMPTE MIDI sync
In this age and time of DAW's, syncing midi devices directly to a multitrack recorder isn't that popular anymore and because the R8 can operate as an audio interface it's more or less superfluous.
Still some of us prefer not to use a computer.
With the introduction of the R-series multitrack recorders Zoom decided to no longer support midi sync as opposed to the HD series.
If you still want midisync without using a computer you're left with one option and that's using SMPTE code.
In the old days an audio sync tone version of SMPTE called linear or longitudinal time code (LTC) was recorded on a track of a multitrack tape recorder.
Played back it was converted back again to MTC (Midi Time Code) and used to sync all sorts of midi gear.
In fact the recorded SMPTE signal is basically a more complex kind of click track as it is also a way to keep 'track' of time using an audio signal.
Now it may be a bit old-fashion and it might be hard to find a SMPTE to MTC converter these days but it's still a method that works remarkably well and as long as Zoom doesn't reinvent midisync it's an alternative.
Good SMPTE to MTC converters are the Phil Rees TS1, JLCooper PPS-2 or MOTU MIDI Express XT and you may find these reasonable cheap on eBay.
Of course we want this audible string of zero's and one's completely separated from the rest so our isolated track output to phones only method is just the way to go and luckily we can use it otherwise we couldn't use SMPTE/LTC at all.
1. Phones out isolated SMPTE/LTC track to input of SMPTE to MTC converter
2. SMPTE to MTC converter
3. MIDI cable, SMPTE to MTC converter MIDI OUT to Drum computer MIDI IN
4. Drum computer or any other MIDI device that can do MIDI sync
5. Stereo out of drum computer to input 1 & 2 panned all the way left and right
Zoom R24 Driver Download
Going stereo
And there's more, apart from selecting a single track as metronome you can also select a pair of tracks like Track 1/2, Track 3/4, Track 5/6 and Track 7/8.
This gives even more options like feeding a stereo signal to an external effects processor.
Remember the phones out is of course a stereo output (jack) and you need a stereo to mono splitter to begin with.
Zoom R24 Drivers Windows 10
These track pairs can be a linked stereo track but it is not necessary, it can also be 2 mono tracks.
These 2 mono tracks can then be panned all the way left and right (with the normal pan control) and that means you will even have 2 separate outputs…
Imagine a SMTPE track to sync your drumcomputer AND a guitar track going to your guitar effect processor running at the same time.
It's clear the Zoom R8 instantly becomes much more versatile when you use this 'hidden output' and maybe one day Zoom will include 2 extra outputs in their multitrack machines but for the time being this workaround will do fine.
Have fun.
Thanks to mhelin for the idea of using the metronome sound in an unconventional way and running it in stereo.
