Joined in 2023 
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Zero-handling noise is an important feature and here is your friend. This is not granted on all devices on the market. when you push the gain dial on a XLR input over 6~7, self noise of preamps will become apparent (can be mitigated if you use something like a Fethead/Cloudlifter) I've been using Zooms for more than 10 years. Zoom H2, H4, H4, F1 and now Zoom H5. All of them remained working and in good condition when I sold them, and this one is the best of the bunch so far. It's really hard to find anything that could be improved in Zoom H5. Incredibly versatile (especially with detachable modules) and very reliable equipment.
Zoom's preamps seem to be all slightly noisy on their own, Not that much to say "this mic is scam", but you know, high enough to say "ok, I know you're there, I'll just fix you if needed". Note that these are not sensitive enough for direct input of guitar or bass; you’ll need a mixer or effects unit to sufficiently raise their levels. The gain dials are also easily accessible – the mike capsules have their own controls (the X-Y pair has a single stereo volume dial for the L-R channels), while the separate little gain dials for channels 1 and 2 sit below the display. Possibility to switch over different capsules makes this unit worth the price both really, really durable and versatile.The modular approach greatly increases the unit’s flexibility. I’ve used my old Zoom H4 for location recording and it worked well, but I think the H5, like the H6, has taken the versatility to a new level. For film work in particular, the addition of the shotgun and ability to record a couple of lavaliers at the same time, all with different levels, will be welcome.
There’s a range of audio input settings that can be applied – a compressor/limiter handy for voiceovers, a low-cut filter, phantom/plug-in power for microphones that need it. THAT SAID, the recording quality on the H5 is remarkably higher than the previous brothers, the sound is just more naturally "in your face" and easily verges on a studio-like sound. Two mic/line inputs with XLR/TRS combo connectors, each with selectable phantom power and -20 dB pad Two mic/line inputs with XLR/TRS combo connectors, each with selectable phantom power and -20dB pad
Two mic/line inputs with XLR/TRS combo connectors, each with selectable phantom power and -20 dB pad Uses a system of interchangeable input capsules that can be swapped out as easily as the lens of a camera the SHG-6 shotgun mike capsule, which is quite a small shotgun, good for a head-and-shoulders interviewee filmed at two or three metres, less so for distant zooming in a noisy environment the MSH-6 Mid-Side capsule, with its bulbous hemisphere facing directly forwards, capturing audio from directly ahead. Less obvious is its second microphone, which collects ambient information from either side (hence the name MS, for Mid-Side). The level at which this side information is added or subtracted from the front microphone can be adjusted after the recording in post-production All these dials sit under sturdy steel bumper bars, partly for protection but also for practicality – it’s far easier to smoothly adjust the volume with this arrangement.
Zero Handling noise thanks to the material the unit is made, XLRs just make the job with no complaints at all. Multichannel and stereo USB audio interface for PC, Mac and iPad (requires optional camera connection kit) Pros: audio quality, portability, use applications, possibility to use as an audio interface for your PC Gain control knob on each input, with protective 'roll-bar' that prevents accidental movement during handlingInternal mics are way too frail, I broke a plastic part already when it fell from only half a meter height You can change the speed or pitch of recordings in the Zoom itself; there’s a metronome and even a built-in guitar/bass tuner. USB connection
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