96k 24bit
REC. SETTINGS
ON
REC. LOWCUT
OFF
REC. LIMITER
37-50*
AUX. SETTINGS
N/A
AUX. BASS
N/A
AUX. HIGH-LOW
N/A
MIC. SETTINGS
ON
MIC. LOWCUT
N/A
MIC. HIGH PASS
+20
(RFI) RADIO FREQUENCY INTERFERENCE
OKAY
LESS THAN
1.1ft / 0.34m
GOOD
BETWEEN
1.1ft / 0.34m -2.2ft / 0.67m
GOOD
BETWEEN
2.2ft / 0.67m -3.3ft / 1m
BETWEEN
3.3ft / 1m -4.4ft / 1.34m
Published:
May 4, 2022 at 9:24:35 PM
REAL RATINGS
After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ.
LOWS/BASS
B
DO THE "LOWS" SOUND REAL?
MIDS
A
DO THE "MIDS" SOUND REAL?
HIGHS/TREBLE
A
DO THE "HIGHS" SOUND REAL?
NOTES:
RFI WARNING:
The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI.
OVERVIEW:
This mic sounds pretty "REAL" and natural at this proximity, with these settings.
LONG VERSION:
This test was performed using the official Rode VMPR Deadcat (FURRY windscreen) on top of the stock FOAM windscreen (which is how it is designed to work). It sounds great at this "BOOM" proximity, as this microphone normally suffers from having too much BASS, especially at closer proximities (due to the "proximity" effect). I'm also using both the MIC. LOWCUT and the REC. LOWCUT and this helps to both reduce the amount of BASS and to lessen the unwanted sounds created by handling noise. Speaking of handling noise, the shock mount is pretty good, but the thing that you have to watch out for is the cable rubbing against the mic or whatever it's plugged into (but this is lessened by the use of the two LOWCUT filters).
SPECIAL NOTE:
Most places recommend not using a boom microphone at a distance greater than 3 feet, but I don't think that is practical (especially when shooting a WIDE shot) and so I've been experimenting with a number of mics up to 4 feet away, and this is one of those you can make work at that distance. Keep in mind that you'll have to boost the levels more in post, as I do not recommend going above a REC. LEVEL of 50 to get a clean signal from this audio recorder (and certainly not above 63).
Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio.
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