Can the Zoom H1 XLR be a good pairing for PYXIS 6K

It has USB-C connectivity to computers and smart phones, XLR, TRS and 3.5.
It provides phantom power to XLR.

Can this be an audio solution for the PYXIS 6K that has one mini XLR and 3.5 TRS?

https://www.blackmagicdesign.com/produc ... magicpyxis

https://zoomcorp.com/en/us/handheld-rec ... rs/h1-xlr/

It appears the H1 can send audio out the USB-C port, but there’s no mention of the USB-C port on the Pyxis being able to be used to as an audio input to record from an external USB-C feed.

The BMD webpage doesn’t specifically say USB-C can’t be used as audio input, but only lists the XLR and 3.5mm ports as inputs. Perhaps this will be a future capability or a surprise feature when the Pyxis is released.

I am resurrecting this post since we now know that the USB-C to HDMI works.

Anyone dare to try it with any audio gear with USB-C interface?

I'm honestly not a fan of Zoom products. Both Tascam and Zoom are the worst audio recorders I've ever worked with. Fine for non serious applications. But if you want to get something more robust and serious I'd look at the Sound Devices MixPre-3ii or MixPre-6ii.

Not only does Sound Devices do file naming better, but it also allows you to label which track is which. And, because it is PolyWav those tracks are a single file that can easily be separated in post. But best of all you can have Track 1 labeled as Boom, Track 2 labeled as Lav, and so when you get it into the NLE you're looking at those tracks in your timeline with those names. You could even label it "GeorgeLav" and "SarahLav" to help distinguish which Lav it is and visually see it in the track name.

Tascam and Zoom are the worst in this regard. I have always hated their file naming and folder organization. I even once got a project from someone to edit where in each individual folder the file was Untilted.WAV. Every single one. No way for me to determine which was which other than the parent folder. The dumbest thing ever. That was recorded from a Zoom for reference. I hate Zoom.

Spare yourself and invest in a quality audio recorder like the Sound Devices MixPre-3ii. You'll be thanking yourself in future years.

Plus you can also timecode sync the Sound Devices with your Blackmagic Cameras by investing in a timecode system like the Deity TC-1 or Tentacle Sync. Save even more hassle by having everything perfectly in sync.

Hi Tim
If it works.
Not looking at the H1 XLR as a recorder but rather as a way of getting 2 XLR with phantom power and the 3.5mm inputs.
Keeping the whole thing digital via USB-C and not using the 3.5mm and front mini XLR input.

The bonus is that you can get a 32 bit float recording as backup.

If the other devices are small, do the same and one can afford them, even better.

The whole idea here is using the USB-C protocol to the max.

Just Sunday "What if......"stuff.

Thanks for the info.

There may be a good reason that no one from BMD has commented about the USB-C video out port appearing to support HDMI with an appropriate cable. Perhaps it’s not considered ready for prime time at this point and may be announced in a future release.

At least that’s an USB-C out capability. The labeling of that port on the camera may be a suggestion that it’s only one way traffic.

...best of all you can have Track 1 labeled as Boom, Track 2 labeled as Lav, and so when you get it into the NLE you're looking at those tracks in your timeline with those names. You could even label it "GeorgeLav" and "SarahLav" to help distinguish which Lav it is and visually see it in the track name...

...Plus you can also timecode sync the Sound Devices with your Blackmagic Cameras by investing in a timecode system like the Deity TC-1 or Tentacle Sync. Save even more hassle by having everything perfectly in sync.

I don't know which models you've worked with... but you can do the same thing with Zoom multi-track recorders...

I just finished the first cut of a short film. Some of the scenes were recorded with the SD MixPre 6II, and other scenes were recorded using the Zoom F4. The poly-waves from both recorders were named the same (StL, StR, Lav01, Lav02, Boom). Both were synced with the cameras (UMP12k and BMCC6kFF) via timecode from Tentacle Sync boxes. File and folder structures were equally easy to work with, and there was no discernable difference in audio quality - at least, none that I could detect. FWIW, I've never had trouble with files from Zoom or Tascam recorders (when properly named and metadata entered correctly). YMMV

Shawn

...best of all you can have Track 1 labeled as Boom, Track 2 labeled as Lav, and so when you get it into the NLE you're looking at those tracks in your timeline with those names. You could even label it "GeorgeLav" and "SarahLav" to help distinguish which Lav it is and visually see it in the track name...

...Plus you can also timecode sync the Sound Devices with your Blackmagic Cameras by investing in a timecode system like the Deity TC-1 or Tentacle Sync. Save even more hassle by having everything perfectly in sync.

I don't know which models you've worked with... but you can do the same thing with Zoom multi-track recorders...

I just finished the first cut of a short film. Some of the scenes were recorded with the SD MixPre 6II, and other scenes were recorded using the Zoom F4. The poly-waves from both recorders were named the same (StL, StR, Lav01, Lav02, Boom). Both were synced with the cameras (UMP12k and BMCC6kFF) via timecode from Tentacle Sync boxes. File and folder structures were equally easy to work with, and there was no discernable difference in audio quality - at least, none that I could detect. FWIW, I've never had trouble with files from Zoom or Tascam recorders (when properly named and metadata entered correctly). YMMV

Shawn

I think the issue comes to the Zoom H4N and such models. Those are hands down the worst. And, it doesn’t help when people don’t set them up properly. But that’s another thing. I had a nightmare editing project with audio from a Zoom H4N and all the files being labeled Untitled.WAV inside each folder. Syncing was a massive headache because it was sync via audio waveform, no slates were used, and at times they kept rolling a single camera or two in between takes when giving direction to the podcast host. It was a horribly disorganized project. And, they had described it as a simple podcast edit job for an easy couple hundred that wouldn’t take me long.


But it wasn’t the first time I had issues with a Zoom H4N or such recorder. Those things have the worst naming as inside each folder will be Track1, Track2, etc. so then when trying to determine which file it is it’s just generic file name that is not unique.

Thus I hate Zoom. I’ve mainly worked with Sound Devices on real pro shoots and never a Zoom F4. But because of the other models I wouldn’t trust a more expensive Zoom based on the other crappy models from the same company.


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...best of all you can have Track 1 labeled as Boom, Track 2 labeled as Lav, and so when you get it into the NLE you're looking at those tracks in your timeline with those names. You could even label it "GeorgeLav" and "SarahLav" to help distinguish which Lav it is and visually see it in the track name...

...Plus you can also timecode sync the Sound Devices with your Blackmagic Cameras by investing in a timecode system like the Deity TC-1 or Tentacle Sync. Save even more hassle by having everything perfectly in sync.

I don't know which models you've worked with... but you can do the same thing with Zoom multi-track recorders...

I just finished the first cut of a short film. Some of the scenes were recorded with the SD MixPre 6II, and other scenes were recorded using the Zoom F4. The poly-waves from both recorders were named the same (StL, StR, Lav01, Lav02, Boom). Both were synced with the cameras (UMP12k and BMCC6kFF) via timecode from Tentacle Sync boxes. File and folder structures were equally easy to work with, and there was no discernable difference in audio quality - at least, none that I could detect. FWIW, I've never had trouble with files from Zoom or Tascam recorders (when properly named and metadata entered correctly). YMMV

Shawn

I think the issue comes to the Zoom H4N and such models. Those are hands down the worst. And, it doesn’t help when people don’t set them up properly. But that’s another thing. I had a nightmare editing project with audio from a Zoom H4N and all the files being labeled Untitled.WAV inside each folder. Syncing was a massive headache because it was sync via audio waveform, no slates were used, and at times they kept rolling a single camera or two in between takes when giving direction to the podcast host. It was a horribly disorganized project. And, they had described it as a simple podcast edit job for an easy couple hundred that wouldn’t take me long.


But it wasn’t the first time I had issues with a Zoom H4N or such recorder. Those things have the worst naming as inside each folder will be Track1, Track2, etc. so then when trying to determine which file it is it’s just generic file name that is not unique.

Thus I hate Zoom. I’ve mainly worked with Sound Devices on real pro shoots and never a Zoom F4. But because of the other models I wouldn’t trust a more expensive Zoom based on the other crappy models from the same company.


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I think you're describing issues that come down to operator error. Zoom recorders (AFAIK) don't have to create folders for each take - I haven't seen that before, but I know they can be set up to operate that way. I admit, I haven't worked with any two-track recorders since the days of analog and digital tape, so maybe it's different for those Hx models.

I can understand how much of a hassle it is when people on the production side don't care when they're making headaches for postproduction. I used to work with a vendor that insisted on recording eight-channel audio with their cameras and audio recorders... even though they were only recording single-person interviews. I told them multiple times that I didn't want or need six empty audio channels, but they didn't care... any more than they cared to take notes on good and bad takes, the names of the on-camera subjects, or (god forbid) which days the clips were shot on, or what topic they were covering. I think professionals do professional work regardless of the equipment they use. I've seen plenty of crappy, disorganized projects shot on high-end gear. People are always going to people.

Shawn

I think I am blessed in that I usually have either control or influence over every aspect of production. The only time I was told by the client to use another person to mix my audio, I provided that person with everything they needed and well-documented but that person never delivered the mix. So I did that myself after some months. On a different occasion, I was told by the same client, a sound engineer would record the audio on his gear. I still recorded my own audio and that was a good thing because after the shoot I discovered the sound engineer totally screwed up the recording of the first song of the concert.

No matter the operator error I have just found I hate Zoom recorders compared to the MixPre series by Sound Devices.


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Zoom H Series sucks. Avoid.

Zoom F Series is good but the preamps in a Sound Devices are better.

I think I am blessed in that I usually have either control or influence over every aspect of production. The only time I was told by the client to use another person to mix my audio, I provided that person with everything they needed and well-documented but that person never delivered the mix. So I did that myself after some months. On a different occasion, I was told by the same client, a sound engineer would record the audio on his gear. I still recorded my own audio and that was a good thing because after the shoot I discovered the sound engineer totally screwed up the recording of the first song of the concert.

This how I usually operate. If I'm handing footage over to someone else, I do everything I can to help the folks in post (clear documentation, room tone, consistent WB and exposure from shot to shot, proper metadata, etc). For live 'stuff', I also try to get a feed from the board in addition to whatever wireless devices I can get the talent to use (lavs, handhelds). Basically, I shoot as if I'm going to do post myself whether I have to or not. I consider it professional courtesy.

Shawn