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Color: White
style: H1n (2018 Model)
Features
- Streamlined body with matte finish and newly designed protective mic enclosure
- Built-in stereo condenser microphones in 90-Degree x/Y format
- One-touch button controls. Battery life (alkaline batteries): Approximately 10 hours (continuous recording time using built-in mic, 44. 1 kHz/16-bit)
- Localized and intuitive menus for easy operation
- Playback Speed control, voice emphasize filter, and stereo overdubbing functions
Description
Creators everywhere are using Zoom Handy Recorders to capture sound and sample audio like never before. The new H1n is the ultimate take-anywhere recorder for every creator’s gear bag.
Item Weight: 9.9 ounces
Product Dimensions: 1.9 x 5.4 x 1.2 inches
Item model number: H1nW
Batteries: 2 AAA batteries required. (included)
Date First Available: September 12, 2018
Color Name: White
Compatible Devices: MP3 Player
Hardware Interface: USB
Speaker Size: 2
Battery type: Alkaline
Media Format: WAV
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Yes, absolutely! You may return this product for a full refund within 30 days of receiving it.
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Similar Products
Top Amazon Reviews
Color: Gray
style: 2018 model
I specialize in tech reviews and as a professional photographer and filmmaker have a good understanding of value vs. quality when it comes to recording devices. The two best in class for roughly $100 or less are the Zoom H1N vs. Sony ICD-UX570. Which is better? Read on: The better question really is “Which is best FOR YOU?” I own both and highly recommend each excellent recorder for value yet there are key differences. Let’s compare to help your decision process: SIZE AND STOWABILITY: In person each is likely quite a bit smaller than you may be expecting. The Sony is the smallest—quite tiny. This advantage is also a potential “small” disadvantage when standing up the recorder for interviews. While it is not likely to tip over you don’t a loud bang in the middle of an important speech. Thus, I found a great little Arae cell phone stand that weighs nearly nothing yet ensures the Sony’s not going to tip. The Zoom is bigger and bulbous around the top to protect its mics. Even though it has more size to its base it is still tipable, If you want to secure it, there is a plastic tripod thread on its side. I use a great little mini tripod like the Manfrotto Pixi for various audio needs including holding the Zoom recorder. SOUND QUALITY AND VERSATILITY: Both superb. The Sony defaults to a darn near perfect setting for almost all uses: MP3 at 192KBPS. It’s broadcast quality yet makes for very small file sizes. If you don’t mind slightly bigger files, the Zoom has slightly higher quality MP3 setting giving the option to use 320 KBPS. If you don’t mind huge files, the absolute highest quality setting for the Sony is uncompressed LCPM. The Zoom has several WAV choices including 96KHZ/24 bit. Speaking of sound quality, when using meters to set optimal levels, Zoom makes it easy with a gain control dial right in front. However, that advantage can also be a job killer as the dial can easily be turned without you knowing it. I prefer to lock it out by most often selecting the Auto Level button also on the front of the recorder. In terms of sheer versatility, the Zoom does more but that makes it more complex to use. Its controls can be aggravating and are not particularly user friendly. Although the Sony selection menus are not the easiest to navigate, compared with the Zoom the selections are far more user friendly and easily tested to achieve excellence for any given situation. RECORDING TIME AND FLEXIBILITY: Sony wins due to several factors. It has a long lasting built in battery that is easily charged via its built in USB connector. Zoom takes two AAA batteries—no big deal but so its batteries don’t run out in the middle of a job I prefer to change to new ones each time I record. The Sony has 4GB of recording space built in. The Zoom has none. Lastly, the Sony can take a 64GB Mini SDXC cardwhile the Zoom will not formatny SDHC card bigger than 32GB. BUILT QUALITY: The Sony is solidly build and impressive. I was surprised by the Zoom’s cheap, plasticky feeling. Mine came with a defective headphone jack although in the unlikely event that should also happen to you, I’m sure Amazon will make it right. CONCLUSION: Both are fine recorders and it is hard to nitpick among two best in class machines. For anyone other than a pro, I suggest the Sony. I strongly prefer it for ease of use and build quality, too. It costs quite a bit less than the Zoom although both recorders are excellent values. If you have more time to tinker, you may love the Zoom. With either, although the built in mics are quite good, I prefer to use easy-to-plug-in 3.5mm mics whenever possible. It’s worth having two basic types in your kit. As you may already know consider getting a wired ominidirectional lavalier such as the terrific ones from Rode and Sennheiser starting at $50. For the best interview sound quality, it is great to have a small directional cardioid mic such as the near identical ones from Boya and Movo for $35 or less. I mount the mic on a mini tripod. Small cardioid mics like these also double as a great solution for mirrorless cameras and DSLRs. Hope this too long review has been of some small help. Best of luck in your searc and keep on recording the good stuff!
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Reviewed in the United States 🇺🇸 on February 28, 2022 by Johnny
Color: Black
style: H1 (pre-2018 Model)
[2/26/12 It's practically humiliating to discover how cheaply devices capable of making good audio recordings can be mass produced. This little plastic stick is not much more than a Cracker Jack toy, yet it's quite capable of rivaling a $600 Sony portable in sound. And it outshines the Sony as a stealth recorder. Where it falls short (and this goes for the H2 as well) is in durability. There's no way big hands can see or feel the little buttons and sliders in the dark and the stick has a loose-goosey structural feel to it. Moreover, the readout showing your files, etc., requires laser vision, and the selection of bit rate is sufficiently complex to invite disaster. Zoom would have done much better to offered several MP3 settings rather than providing a numbering system extending from 1 to 1400 plus). To put it plainly, ultimately audio quality is a function of form and materials. Zoom has come up with winning sound through the most fragile plastic means, but it's far from reassuring--instead, a recipe for disaster. I'd rather take my chances with my iPod and its built in mics (or maybe an add-on like Mikey). Apple would never risk its reputation on the shoddy workmanship of these Zoom products, even if the results are "temporarily" rather stunning. If you want a recorder that motivates you to want to use it judiciously and to take care of it, invest in the well-built Sony or a higher-level Zoom. The Zoom H2 is marginally more secure, the H2n slightly better. the H4n may be as low as you dare go in the Zoom line.] Original review: before the Zoom H2 appeared just several years ago, there seemed to be little to no interest on the part of manufacturers in bringing to market high-quality personal digital audio recorders. There were the popular 8-track units that seemed best-suited for hobbyists willing to commit extended periods of time to the intricacies and hefty instruction manuals of these machines. But with the H2, near-professional audio quality was suddenly a practical reality, easily in reach of the musician or fan looking for a quick, handy, compact, intuitive recording device. The Zoom H2 was my first recorder, and since then I've picked up the Zoom Q3, the Sony PCM-50, and now the Zoom H1. At this point, I'm preparing to unload the H2 and the Q3 while sticking with the Sony and H1 (unless the need to record more than one track leads me to the H4n). This decision came after comparing the recording of a grand piano made at 96 khz/24 bits on each of the machines. The H2, with its wide sound stage and 4-point microphone system is in some respects the most impressive, or "pleasing," sound, enhancing recordings with spaciousness and even an added "warmth" that make it easy to understand why it's proven such a winner (and is currently going for a lot less than I paid). Perhaps my reservations about this popular model are overly picky, since preceding reviewers don't mention the cost-cutting components used to keep the price down. I find the skin-surface of the touch controls occasionally frustrating from a user's standpoint. All of the menus and submenus in the tiny window illuminated by a yellow light are not only overkill but seem made for young, sharp eyes and nimble, accurate fingers. Finally, the plastic case can be vulnerable, as I discovered when, after minimal use, the small clip that snaps shut over the SD card simply broke, requiring me to tape the cover in place. The Q3 is a Sherman tank by comparison, and far more user-friendly. It's no problem at all to use it only as an audio device, if you prefer not to fool with the included video camera. It has far fewer controls, but they're all solid buttons--there is no skin surface requiring you to feel around for the right spot. As for negatives, it's far too large and gaudy to be useful for "stealth" recordings, and the videos aren't good enough to account for the extra size and weight of the machine. The Sony costs even more than the Zoom 4n, it records only in WAVE format (no compressed recordings are possible, MP3 files or otherwise), but it's almost a quarter of the price of Sony's top-of-the-line "Professional" model and, according to most reviews, is barely distinguishable from Sony's best in terms of accurate audio reproduction ("fidelity" is about being faithful to the live sound source). Using it is a pleasure, because of the rock-solid build quality. Listening to it is not necessarily a revelation (some ears may prefer the Zoom H2), and it's unlikely to flatter a musician by making him sound better than he actually is. But for a durable machine capable of recording with undeniable accuracy, the Sony PCM-50 is definitely a keeper. As for downsides, the Sony is fairly large and heavy for a "personal" digital recorder, it eats up batteries and storage space at a fairly alarming rate, and the quality of the audio is not inarguably superior to any of the Zooms, at least to the average human ear. This is where the Zoom H1 wins the day. Nothing could be lighter and more inconspicuous, yet the absence of the H2's touch skin and all of those tiny menus ensures quick and easy operation. Moreover, it requires a single AA battery! (Doesn't get any better than that.) Again, the storage card cover, as mentioned by a previous reviewer, looks thin and fragile. So be extra careful about swapping out cards (take your time). Aside from the missing audio "enhancement" that I hear in the H2 (especially when the pick-up pattern is set for 120 or 360 degrees), I'm quite satisfied that the H1 is the biggest bang for the least buck in the emerging field of truly "personal," user-friendly, ultra-convenient digital audio recorders. And to top it off, there's even an onboard speaker, frequently useful to busy musicians who from time to time simply want to check out recorded "content." (I wouldn't be surprised if the H1 is both my last digital recorder and the one that receives the most use.)
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Reviewed in the United States 🇺🇸 on September 13, 2010 by Samuel