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This microphone-audio recorder combination is getting pretty close to sounding "REAL" without the need for any EQ (post production audio editing). I've used this microphone for almost all of my PODCAST episodes (so far) but it wasn't with the Zoom F2, but this test is making me think about doing so. The Zoom F2 allowed me to record at +0 MIC. BOOST (instead of the +20 I was using for other audio recorders) because the 32-bit float file (from the Zoom F2) sounded clean after boosting the audio in Audacity! The +20 MIC. BOOST on this microphone is better than a lot of the other mic (in this class) but it sounds even better when you don't have to turn it on. I still may add an EQ to perfect this mic-recorder combination, but I'm glad it doesn't need much. "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom F2 (NO AUX. Amplifier) Shure VP83 LensHopper WINDSCREEN: Foam (Stock) 32-Bit Float REC. SETTINGS N/A REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS OFF MIC. LOWCUT N/A MIC. HIGH PASS +0 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: December 26, 2022 at 8:51:32 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 A DO THE "LOWS" SOUND REAL? MIDS A DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: This microphone-audio recorder combination is getting pretty close to sounding "REAL" without the need for any EQ (post production audio editing). I've used this microphone for almost all of my PODCAST episodes (so far) but it wasn't with the Zoom F2, but this test is making me think about doing so. The Zoom F2 allowed me to record at +0 MIC. BOOST (instead of the +20 I was using for other audio recorders) because the 32-bit float file (from the Zoom F2) sounded clean after boosting the audio in Audacity! The +20 MIC. BOOST on this microphone is better than a lot of the other mic (in this class) but it sounds even better when you don't have to turn it on. I still may add an EQ to perfect this mic-recorder combination, but I'm glad it doesn't need much. 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. GAFFER TAPE SUPPLIED BY

MICROPHONE SPECIFIC: Just in regard to the (built-in) microphone itself, I started the test without the FURRY windscreen, and it sounded a lot better, but when I added the FURRY, the audio starts to sound strange, sort of an uneven sound, which I'm sure is going to require a complex EQ to fix. This mic (the built-in mic on the transmitter/recorder) also has way too much sibilance, meaning it struggles with the sound of "esses" and while you would think using the furry windscreen would help, it doesn't seem to do enough to make this audio useable. Both of these things are a problem, as you have to use the FURRY in most situations, as there is not another option for wind protection. So, plan B is to use a plug-in lavalier instead of the built-in mic...so I'm starting to experiment with different lav mics. AUDIO RECORDER SPECIFIC: As you might already know, this system is more than just a wireless audio system; each transmitter also has onboard recording. This is the feature I'm focusing on here, and so there are a number of quirks to be aware of when it comes to using this system as an audio recorder. The first is that I don't see a way to change the REC. LEVEL on the transmitter/recorder. There is a way to change the OUTPUT LEVEL on the receiver (RX) but no way to change the REC. LEVEL. What this might mean is that, if this thing isn't a 32-bit float recorder (and I'll talk about why I say IF in a second) it would seem like it's kind of limited in terms of being able to make sure the audio doesn't "clip". However, as I started testing, I realized a couple of things: 1. The record level is pretty low (so it has lots of headroom) and 2. The level indicator on the display of each transmitter says the level is higher than it really is (based on looking at the file in an audio editor). This is good, because I'm less concerned that the recording (on the transmitter) will clip, even though it doesn't seem to be adjustable. The last thing I'll say is that when I amplify the level using an audio editor such as Audacity, I'm super surprised at how clean the audio sounds...it's almost like working with a 32-bit float file on my Zoom F2 (but I haven't pushed it very far in testing yet, so I'll update this after more testing). "LAV" Proximity [7 inches / 17.78 cm] 7RYMS iRAY DW30 (Recorder) [NO AUX. BOOST] 7RYMS iRAY DW30 (Built-In Mic) WINDSCREEN: None? 48k 24-bit REC. SETTINGS ? REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE ? LESS THAN 1.1ft / 0.34m ? BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: January 13, 2023 at 2:46:45 AM 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 ? DO THE "LOWS" SOUND REAL? MIDS ? DO THE "MIDS" SOUND REAL? HIGHS/TREBLE ? DO THE "HIGHS" SOUND REAL? NOTES: MICROPHONE SPECIFIC: Just in regard to the (built-in) microphone itself, I started the test without the FURRY windscreen, and it sounded a lot better, but when I added the FURRY, the audio starts to sound strange, sort of an uneven sound, which I'm sure is going to require a complex EQ to fix. This mic (the built-in mic on the transmitter/recorder) also has way too much sibilance, meaning it struggles with the sound of "esses" and while you would think using the furry windscreen would help, it doesn't seem to do enough to make this audio useable. Both of these things are a problem, as you have to use the FURRY in most situations, as there is not another option for wind protection. So, plan B is to use a plug-in lavalier instead of the built-in mic...so I'm starting to experiment with different lav mics. AUDIO RECORDER SPECIFIC: As you might already know, this system is more than just a wireless audio system; each transmitter also has onboard recording. This is the feature I'm focusing on here, and so there are a number of quirks to be aware of when it comes to using this system as an audio recorder. The first is that I don't see a way to change the REC. LEVEL on the transmitter/recorder. There is a way to change the OUTPUT LEVEL on the receiver (RX) but no way to change the REC. LEVEL. What this might mean is that, if this thing isn't a 32-bit float recorder (and I'll talk about why I say IF in a second) it would seem like it's kind of limited in terms of being able to make sure the audio doesn't "clip". However, as I started testing, I realized a couple of things: 1. The record level is pretty low (so it has lots of headroom) and 2. The level indicator on the display of each transmitter says the level is higher than it really is (based on looking at the file in an audio editor). This is good, because I'm less concerned that the recording (on the transmitter) will clip, even though it doesn't seem to be adjustable. The last thing I'll say is that when I amplify the level using an audio editor such as Audacity, I'm super surprised at how clean the audio sounds...it's almost like working with a 32-bit float file on my Zoom F2 (but I haven't pushed it very far in testing yet, so I'll update this after more testing). 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. GAFFER TAPE SUPPLIED BY

ABOUT: At this "VLOG" proximity, it's going to need a custom EQ, because it really needs the 150 Hz MIC. LOWCUT (to remove handling and background noise) but it strips way too much BASS out, so that will need to be added back with the custom EQ. I think these settings create a much better starting point than leaving the LOWCUT off, but it really doesn't sound good (without the EQ). UPDATE: Nice! I have super good news...I figured out how to remove the RFI from this combo. All you have to do is TURN OFF the wireless RECEIVER! That's right, if it's off there's no problem with RFI, but if it's ON, there is constant static from RFI, especially when it's closer than 3 feet. I'm going to test this some more, but for now this is a quick and easy fix, if you don't need to use the wireless receiver, that is. There is a TINY amount of RFI noise when I turn the MIC. BOOST all of the way down (to "0") on the dial, but when you have it at a normal level, this noise is not noticeable. PREVIOUS NOTE: I'm just starting this test, and I'm not sure if the RFI (Radio Frequency Interference) will render this microphone/audio recorder combination useless or not. The reason I don't know yet, is that I have identified that if the wireless RECEIVER is too close to the cable that attaches the microphone to the TRANSMITTER/Recorder, there is a ton of RFI. However, when I move the RECEIVER further away, it lessens considerably...and when I turn it OFF, the RFI MIGHT BE LOW ENOUGH to not cause a problem...so I'm still testing... As noted before, the shock mount that is included with this mic doesn't do a very good job of protecting it from the sound of bumps and/or wiggles, so you'll have to hold it steady in that case. (If I can find an affordable, aftermarket shock mount, I will update this review). "VLOG" Proximity [22 inches / 55.5 cm] 7RYMS iRAY DW30 (Recorder) (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM + FURRY (Stock) 48k 24-bit REC. SETTINGS N/A REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS 150 Hz MIC. LOWCUT N/A MIC. HIGH PASS @5 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: February 23, 2023 at 2:56:20 AM 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 DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: ABOUT: At this "VLOG" proximity, it's going to need a custom EQ, because it really needs the 150 Hz MIC. LOWCUT (to remove handling and background noise) but it strips way too much BASS out, so that will need to be added back with the custom EQ. I think these settings create a much better starting point than leaving the LOWCUT off, but it really doesn't sound good (without the EQ). UPDATE: Nice! I have super good news...I figured out how to remove the RFI from this combo. All you have to do is TURN OFF the wireless RECEIVER! That's right, if it's off there's no problem with RFI, but if it's ON, there is constant static from RFI, especially when it's closer than 3 feet. I'm going to test this some more, but for now this is a quick and easy fix, if you don't need to use the wireless receiver, that is. There is a TINY amount of RFI noise when I turn the MIC. BOOST all of the way down (to "0") on the dial, but when you have it at a normal level, this noise is not noticeable. PREVIOUS NOTE: I'm just starting this test, and I'm not sure if the RFI (Radio Frequency Interference) will render this microphone/audio recorder combination useless or not. The reason I don't know yet, is that I have identified that if the wireless RECEIVER is too close to the cable that attaches the microphone to the TRANSMITTER/Recorder, there is a ton of RFI. However, when I move the RECEIVER further away, it lessens considerably...and when I turn it OFF, the RFI MIGHT BE LOW ENOUGH to not cause a problem...so I'm still testing... As noted before, the shock mount that is included with this mic doesn't do a very good job of protecting it from the sound of bumps and/or wiggles, so you'll have to hold it steady in that case. (If I can find an affordable, aftermarket shock mount, I will update this review). 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. GAFFER TAPE SUPPLIED BY

MICROPHONE SPECIFIC: So, there are a lot of little problems with this microphone/audio recorder combination, though I still think it's good enough to use for vlogging, etc. The first thing is, there were a few times during my tests where you can hear a strange sort of liquidy-sounding RF interference (like the sound of squishing something with a tiny amount of liquid in it) and while it's not noticeable when you're talking, it shows up when there's a quiet spot in the recording. I have noticed this when using other microphones with this transmitter/recorder, and I think it has something to do with the fact that it's a wireless TRANSMITTER, and it constantly looks for the RECEIVER while it's on. The second thing that is really interesting about this device, is that when you open the file that's created with this microphone/audio recorder combination (in an audio editing application) the level starts out really, REALLY low. However, it's kind of amazing how much you can boost the level in post and not introduce a lot of self-noise (I talk more about this in the general description of this transmitter/audio recorder below). If you can ignore this faint "squishy" RFI sound, this microphone sounds really good and natural with this recorder, yet it does with almost every recorder I've tested it with...so I just really love this mic. Another interesting thing is that this Zoom LMF-2 (Lavalier) mic plugs in fairly securely, even though it has a locking plug that doesn't lock onto this device. AUDIO RECORDER SPECIFIC: As you might already know, this system is more than just a wireless audio system; each transmitter also has onboard recording. This is the feature I'm focusing on here, and so there are a number of quirks to be aware of when it comes to using this system as an audio recorder. The first is that I don't see a way to change the REC. LEVEL on the transmitter/recorder. There is a way to change the OUTPUT LEVEL on the receiver (RX) but no way to change the REC. LEVEL. What this might mean is that, if this thing isn't a 32-bit float recorder (and I'll talk about why I say IF in a second) it would seem like it's kind of limited in terms of being able to make sure the audio doesn't "clip". However, as I started testing, I realized a couple of things: 1. The record level is pretty low (so it has lots of headroom) and 2. The level indicator on the display of each transmitter says the level is higher than it really is (based on looking at the file in an audio editor). This is good, because I'm less concerned that the recording (on the transmitter) will clip, even though it doesn't seem to be adjustable. The last thing I'll say is that when I amplify the level using an audio editor such as Audacity, I'm super surprised at how clean the audio sounds...it's almost like working with a 32-bit float file on my Zoom F2 (but I haven't pushed it very far in testing yet, so I'll update this after more testing). UPDATE: I was baffled regarding how clean the audio sounds after boosting it in post-production...and then I remembered I read that it is applying some kind of noise reduction WHILE RECORDING! I looked up the specifications, and they call it "intelligent denoise". So, while I still don't know for sure if there isn't a way to change the REC. LEVEL while recording (to the internal memory of the transmitter) I am really liking what the audio sounds like after boosting the low audio levels it seems to record at. "LAV" Proximity [7 inches /17.78 cm] 7RYMS iRAY DW30 (Recorder) [NO AUX. BOOST] Zoom LMF-2 (Lavalier) WINDSCREEN: FURRY (Comica) 48k 24-bit REC. SETTINGS ? REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE ? LESS THAN 1.1ft / 0.34m ? BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m ? BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: March 13, 2023 at 9:51:09 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 ? DO THE "LOWS" SOUND REAL? MIDS ? DO THE "MIDS" SOUND REAL? HIGHS/TREBLE ? DO THE "HIGHS" SOUND REAL? NOTES: MICROPHONE SPECIFIC: So, there are a lot of little problems with this microphone/audio recorder combination, though I still think it's good enough to use for vlogging, etc. The first thing is, there were a few times during my tests where you can hear a strange sort of liquidy-sounding RF interference (like the sound of squishing something with a tiny amount of liquid in it) and while it's not noticeable when you're talking, it shows up when there's a quiet spot in the recording. I have noticed this when using other microphones with this transmitter/recorder, and I think it has something to do with the fact that it's a wireless TRANSMITTER, and it constantly looks for the RECEIVER while it's on. The second thing that is really interesting about this device, is that when you open the file that's created with this microphone/audio recorder combination (in an audio editing application) the level starts out really, REALLY low. However, it's kind of amazing how much you can boost the level in post and not introduce a lot of self-noise (I talk more about this in the general description of this transmitter/audio recorder below). If you can ignore this faint "squishy" RFI sound, this microphone sounds really good and natural with this recorder, yet it does with almost every recorder I've tested it with...so I just really love this mic. Another interesting thing is that this Zoom LMF-2 (Lavalier) mic plugs in fairly securely, even though it has a locking plug that doesn't lock onto this device. AUDIO RECORDER SPECIFIC: As you might already know, this system is more than just a wireless audio system; each transmitter also has onboard recording. This is the feature I'm focusing on here, and so there are a number of quirks to be aware of when it comes to using this system as an audio recorder. The first is that I don't see a way to change the REC. LEVEL on the transmitter/recorder. There is a way to change the OUTPUT LEVEL on the receiver (RX) but no way to change the REC. LEVEL. What this might mean is that, if this thing isn't a 32-bit float recorder (and I'll talk about why I say IF in a second) it would seem like it's kind of limited in terms of being able to make sure the audio doesn't "clip". However, as I started testing, I realized a couple of things: 1. The record level is pretty low (so it has lots of headroom) and 2. The level indicator on the display of each transmitter says the level is higher than it really is (based on looking at the file in an audio editor). This is good, because I'm less concerned that the recording (on the transmitter) will clip, even though it doesn't seem to be adjustable. The last thing I'll say is that when I amplify the level using an audio editor such as Audacity, I'm super surprised at how clean the audio sounds...it's almost like working with a 32-bit float file on my Zoom F2 (but I haven't pushed it very far in testing yet, so I'll update this after more testing). UPDATE: I was baffled regarding how clean the audio sounds after boosting it in post-production...and then I remembered I read that it is applying some kind of noise reduction WHILE RECORDING! I looked up the specifications, and they call it "intelligent denoise". So, while I still don't know for sure if there isn't a way to change the REC. LEVEL while recording (to the internal memory of the transmitter) I am really liking what the audio sounds like after boosting the low audio levels it seems to record at. 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. GAFFER TAPE SUPPLIED BY

This test pushed my recommendations (for clean audio) to the limit. I had to add my AUX. amplifier (Neotek NTK059) set on HIGH, FULL DIAL and then set the REC. GAIN to 6.3 (I would never go above 6.3 on this audio recorder). "BOOM" Proximity [35 inches / 88.8 cm] Zoom H1n AUX: Neoteck NTK059 Takstar SGC-598 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 6.3 REC. LEVEL AUX. SETTINGS OFF AUX. BASS HIGH AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS Off MIC. LOWCUT N/A MIC. HIGH PASS +10 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: April 10, 2022 at 1:46:51 AM 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 DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: This test pushed my recommendations (for clean audio) to the limit. I had to add my AUX. amplifier (Neotek NTK059) set on HIGH, FULL DIAL and then set the REC. GAIN to 6.3 (I would never go above 6.3 on this audio recorder). 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. GAFFER TAPE SUPPLIED BY

SHORT VERSION: The short version is, you've got to use the mic at +20 MIC. BOOST or there's too much RFI (if you record at a lower MIC. BOOST setting and then boost in post-production). LONG VERSION: This transmitter/recorder doesn't have any way to set the REC. LEVEL (record level). That means the only way to change the level while recording is to use those MIC. BOOST settings, and the Rode VideoMic Pro R has only 3 options (-10, -0 and +20). So, I tested this mic/recorder combination at each of those 3 MIC. BOOST settings...and the results were interesting. You know from the "short version" above that the only setting that works is +20, but you may be asking "Why?" You may know that this little transmitter/recorder has a strange ability to be boosted in post-production, without increasing the noise floor too much (which I learned from other tests) but what I didn't know was that, with this microphone/recorder combination, the small amount of RFI present does get louder when the level is boosted (this RFI is presumably caused by the transmitter emitting a signal while searching for the receiver). The result sounded really bad at MIC. BOOST of -10, almost useable at -0, but pretty good at +20, as the level of the good audio (my voice) is loud enough that you can't hear the RFI in the background (when boosting to a proper level). P.S. You still cannot use this combination with the wireless RECEIVER turned on (there is way too much RFI). "CLOSE" Proximity [3.5 inches / 8.89 cm] 7RYMS iRAY DW30 (Recorder) (NO AUX. Amplifier) Rode VideoMic Pro R Windscreen: FOAM + FURRY (Stock) 48k 24-bit REC. SETTINGS N/A REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: February 24, 2023 at 1:25:05 AM 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 DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: SHORT VERSION: The short version is, you've got to use the mic at +20 MIC. BOOST or there's too much RFI (if you record at a lower MIC. BOOST setting and then boost in post-production). LONG VERSION: This transmitter/recorder doesn't have any way to set the REC. LEVEL (record level). That means the only way to change the level while recording is to use those MIC. BOOST settings, and the Rode VideoMic Pro R has only 3 options (-10, -0 and +20). So, I tested this mic/recorder combination at each of those 3 MIC. BOOST settings...and the results were interesting. You know from the "short version" above that the only setting that works is +20, but you may be asking "Why?" You may know that this little transmitter/recorder has a strange ability to be boosted in post-production, without increasing the noise floor too much (which I learned from other tests) but what I didn't know was that, with this microphone/recorder combination, the small amount of RFI present does get louder when the level is boosted (this RFI is presumably caused by the transmitter emitting a signal while searching for the receiver). The result sounded really bad at MIC. BOOST of -10, almost useable at -0, but pretty good at +20, as the level of the good audio (my voice) is loud enough that you can't hear the RFI in the background (when boosting to a proper level). P.S. You still cannot use this combination with the wireless RECEIVER turned on (there is way too much RFI). 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. GAFFER TAPE SUPPLIED BY

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. "VLOG" Proximity [22 inches / 55.5 cm] Zoom H1 Saramonic SR-VM4 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 44 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 4, 2022 at 6:59:46 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 DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE 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. 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. GAFFER TAPE SUPPLIED BY

AUX. SETTINGS: 1. I'm using the Comica CVM-D03 Dual Lavalier as an AUX. AMP 2. The mic is plugged into the AUX. AMP (into Mic 1 or 2) 3. The AUX. AMP is set to MONO ("M") 4. The AUX. AMP is set to FULL (on the dial) 5. The AUX. AMP sends (VIA 3.5 AUX. cable) from OUTPUT port to Zoom F2 (audio recorder) INPUT "PROXIMITY" SPECIFIC: This is a 32-bit float recorder (the Zoom F2) so you really don't have to change settings when moving from one "proximity" (recording distance) to another (even the "AFAR" proximity). The only thing you COULD change is turning the REC. LOWCUT on/off. When using the "CLOSE" proximity INDOORS, you don't really need the LOWCUT to reduce bumps and/or wind noise from being in an outdoor environment, but I'm leaving it ON because I sometimes use "CLOSE" outdoors as well (either for narration or nat. sound capture) it works best for me to have the same settings for both. It does lack a little bit of BASS with the REC. LOWCUT on however, so I will need to create a custom EQ for each proximity. Note that REC. LOWCUT can only be activated in Zoom app (and only on the Bluetooth version of the F2). The way I'm using this mic is a bit different than it was designed. I'm plugging it into the Comica CVM-D03 Dual Lavalier booster pack (which was designed to provide plug-in power for 2 Comica lavalier mics) and it actually works to power AND boost the Rode VideoMicro, which improves the audio quality a lot compared to just plugging this mic into the Zoom F2. I did try that as well, and while it does sort of work, because you can raise the level of the 32-bit float file in post-production, but it sounds way, way better (at ALL proximities) when using the Comica CVM-D03 as an AUX. amplifier (see my settings above). BACKGROUND: This was the first mini (camera-top) shotgun mic I purchased, and I almost got rid of it for a number of reasons. The first reason I didn't like this mic was that it does not have its own power (it takes power from the device it's plugged into). The second reason I didn't like it, was that I also like to plug mics into headphone amplifiers (sometimes) to boost the level when needed, this mic couldn't do that because it requires that plug-in power (and the headphone amplifier isn't supplying that). Other mics have a similar problem (the Diety D3 Pro) but for a different reason. They have "smart" power, which means they only turn on when they sense it's plugged into a camera! IN THE FUTURE: I have another strange idea that might be fun, and that's to get another one of these, and run 2 of them into that booster TO CREATE A STEREO PAIR OF MICS (yet the Zoom F2 doesn't capture stereo, so it would already be mixed to MONO, but it would still gather audio from 2 mics, and could sound really good. "BOOM" Proximity [35 inches / 88.8 cm] Zoom F2 AUX. AMP: Comica CVM-D03 Dual Lavalier Rode VideoMicro (Shotgun) Windscreen: FURRY (Stock) 32-Bit Float REC. SETTINGS ON REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW FULL AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE ? LESS THAN 1.1ft / 0.34m ? BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m ? BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: February 7, 2023 at 12:21:15 AM 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 ? DO THE "LOWS" SOUND REAL? MIDS ? DO THE "MIDS" SOUND REAL? HIGHS/TREBLE ? DO THE "HIGHS" SOUND REAL? NOTES: AUX. SETTINGS: 1. I'm using the Comica CVM-D03 Dual Lavalier as an AUX. AMP 2. The mic is plugged into the AUX. AMP (into Mic 1 or 2) 3. The AUX. AMP is set to MONO ("M") 4. The AUX. AMP is set to FULL (on the dial) 5. The AUX. AMP sends (VIA 3.5 AUX. cable) from OUTPUT port to Zoom F2 (audio recorder) INPUT "PROXIMITY" SPECIFIC: This is a 32-bit float recorder (the Zoom F2) so you really don't have to change settings when moving from one "proximity" (recording distance) to another (even the "AFAR" proximity). The only thing you COULD change is turning the REC. LOWCUT on/off. When using the "CLOSE" proximity INDOORS, you don't really need the LOWCUT to reduce bumps and/or wind noise from being in an outdoor environment, but I'm leaving it ON because I sometimes use "CLOSE" outdoors as well (either for narration or nat. sound capture) it works best for me to have the same settings for both. It does lack a little bit of BASS with the REC. LOWCUT on however, so I will need to create a custom EQ for each proximity. Note that REC. LOWCUT can only be activated in Zoom app (and only on the Bluetooth version of the F2). The way I'm using this mic is a bit different than it was designed. I'm plugging it into the Comica CVM-D03 Dual Lavalier booster pack (which was designed to provide plug-in power for 2 Comica lavalier mics) and it actually works to power AND boost the Rode VideoMicro, which improves the audio quality a lot compared to just plugging this mic into the Zoom F2. I did try that as well, and while it does sort of work, because you can raise the level of the 32-bit float file in post-production, but it sounds way, way better (at ALL proximities) when using the Comica CVM-D03 as an AUX. amplifier (see my settings above). BACKGROUND: This was the first mini (camera-top) shotgun mic I purchased, and I almost got rid of it for a number of reasons. The first reason I didn't like this mic was that it does not have its own power (it takes power from the device it's plugged into). The second reason I didn't like it, was that I also like to plug mics into headphone amplifiers (sometimes) to boost the level when needed, this mic couldn't do that because it requires that plug-in power (and the headphone amplifier isn't supplying that). Other mics have a similar problem (the Diety D3 Pro) but for a different reason. They have "smart" power, which means they only turn on when they sense it's plugged into a camera! IN THE FUTURE: I have another strange idea that might be fun, and that's to get another one of these, and run 2 of them into that booster TO CREATE A STEREO PAIR OF MICS (yet the Zoom F2 doesn't capture stereo, so it would already be mixed to MONO, but it would still gather audio from 2 mics, and could sound really good. 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. GAFFER TAPE SUPPLIED BY

AUDIO RECORDER SPECIFIC: 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. This microphone does NOT fully plug into this audio recorder, so you only get 1 channel of audio (the LEFT channel). I don't know if there is a non-locking version of this model, but there is of the more popular (and smaller) 044. I don't really like monitoring audio when it's just coming in through one ear, so I don't use this mic with this audio recorder. I did complete this test for reference (and in case I had to use it for some reason) and the REC. LEVEL I felt gave me the best result was at 48. This requires boosting the levels in post-production, but I've found the sweet spot of this audio recorder is between 37 and 50 (and 63 is the highest level this recorder does well at before it introduces way too much self-noise). It's good to start with a slightly lower REC. LEVEL on a non-32-bit float recorder anyway, to give yourself more "head room". MIC-SPECIFIC: This is yet another test in which a mic sounds better with the Comica CVM-MF1 (Lavalier Furry) and it sounds pretty natural and real with it on, so I'm not planning to use this mic without it (so I can be either INDOORS OR OUTDOORS and have it sound the same). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1 [NO AUX. BOOST] JK MIC-J 055 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 48 REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE BAD LESS THAN 1.1ft / 0.34m BAD BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BAD BETWEEN 2.2ft / 0.67m -3.3ft / 1m SO-SO BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: March 28, 2023 at 11:23:46 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 C DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: AUDIO RECORDER SPECIFIC: 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. This microphone does NOT fully plug into this audio recorder, so you only get 1 channel of audio (the LEFT channel). I don't know if there is a non-locking version of this model, but there is of the more popular (and smaller) 044. I don't really like monitoring audio when it's just coming in through one ear, so I don't use this mic with this audio recorder. I did complete this test for reference (and in case I had to use it for some reason) and the REC. LEVEL I felt gave me the best result was at 48. This requires boosting the levels in post-production, but I've found the sweet spot of this audio recorder is between 37 and 50 (and 63 is the highest level this recorder does well at before it introduces way too much self-noise). It's good to start with a slightly lower REC. LEVEL on a non-32-bit float recorder anyway, to give yourself more "head room". MIC-SPECIFIC: This is yet another test in which a mic sounds better with the Comica CVM-MF1 (Lavalier Furry) and it sounds pretty natural and real with it on, so I'm not planning to use this mic without it (so I can be either INDOORS OR OUTDOORS and have it sound the same). 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. GAFFER TAPE SUPPLIED BY

Testing at "BOOM" proximity (with the stock FOAM windscreen) with the Saramonic SR-VM4 microphone with MIC. BOOST at +20 and MIC. LOWCUT set to ON, plus adding an AUX. Amp. (Neotek) at LOW, FULL DIAL, before sending VIA AUX. cable to a Zoom F1 audio recorder at REC. GAIN of HIGH-. "BOOM" Proximity [35 inches / 88.8 cm] Zoom F1 AUX: Neoteck NTK059 Saramonic SR-VM4 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "HI-" REC. LEVEL AUX. SETTINGS OFF AUX. BASS LOW AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 4, 2022 at 1:09:30 AM 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 DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: Testing at "BOOM" proximity (with the stock FOAM windscreen) with the Saramonic SR-VM4 microphone with MIC. BOOST at +20 and MIC. LOWCUT set to ON, plus adding an AUX. Amp. (Neotek) at LOW, FULL DIAL, before sending VIA AUX. cable to a Zoom F1 audio recorder at REC. GAIN of HIGH-. 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. GAFFER TAPE SUPPLIED BY

[TESTING] This test was at CLOSE (3.5 inches) proximity with the MIC. BOOST at +10, the REC. GAIN at 5.5. P.S. This microphone-recorder combination did not work at the VLOG proximity (because it only has a +10 MIC. BOOST, not +20 which would be needed at the VLOG proximity). "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom H1n (NO AUX. Amplifier) Takstar SGC-598 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 5.5 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS Off MIC. LOWCUT N/A MIC. HIGH PASS +10 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: April 16, 2022 at 11:56:26 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 DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: [TESTING] This test was at CLOSE (3.5 inches) proximity with the MIC. BOOST at +10, the REC. GAIN at 5.5. P.S. This microphone-recorder combination did not work at the VLOG proximity (because it only has a +10 MIC. BOOST, not +20 which would be needed at the VLOG proximity). 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. GAFFER TAPE SUPPLIED BY

SUMMARY: I will need to create a custom EQ for this combination (it needs more BASS/LOWS because of the use of the MIC. LOWCUT and REC. LOWCUT) but I think it's going to sound really good with EQ (it's got a lot of depth to the recording, and I don't think the EQ is going to be super complex). At this ("VLOG") proximity, this microphone still sounds pretty good, even though it doesn't reject all of the sound from the sides, and certainly doesn't from the back. I think this is okay for vlogging though, as I do want a little bit of ambient audio in a vlogging scenario. I'm using both the FOAM + FURRY here because that's the way the FURRY was designed (it doesn't work by itself). One interesting thing about this microphone/audio recorder combination, is that the following proximities work really well: 1. "CLOSE" = MIC. BOOST @1 2. "VLOG" = MIC. BOOST @2 3. "BOOM" = MIC. BOOST @3 4. "BOOM" (OPTION 2) = MIC. BOOST @4 (for 4 feet) Isn't that funny! After doing a lot of tests, that is actually what I consider the "sweet spot" for this combination! RFI NOTES: In regard to RFI (Radio Frequency Interference) this mic showed the typical "BAD" performance when held within a few inches of an iPhone (13 Pro Max) but is safe to use at a distance of 3 feet. "VLOG" Proximity [22 inches / 55.5 cm] Zoom F2 (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM + FURRY (Stock) 32-Bit Float REC. SETTINGS ON REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS 150 Hz MIC. LOWCUT N/A MIC. HIGH PASS 2 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE OKAY LESS THAN 1.1ft / 0.34m BAD BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: January 23, 2023 at 1:35:19 AM 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 B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: SUMMARY: I will need to create a custom EQ for this combination (it needs more BASS/LOWS because of the use of the MIC. LOWCUT and REC. LOWCUT) but I think it's going to sound really good with EQ (it's got a lot of depth to the recording, and I don't think the EQ is going to be super complex). At this ("VLOG") proximity, this microphone still sounds pretty good, even though it doesn't reject all of the sound from the sides, and certainly doesn't from the back. I think this is okay for vlogging though, as I do want a little bit of ambient audio in a vlogging scenario. I'm using both the FOAM + FURRY here because that's the way the FURRY was designed (it doesn't work by itself). One interesting thing about this microphone/audio recorder combination, is that the following proximities work really well: 1. "CLOSE" = MIC. BOOST @1 2. "VLOG" = MIC. BOOST @2 3. "BOOM" = MIC. BOOST @3 4. "BOOM" (OPTION 2) = MIC. BOOST @4 (for 4 feet) Isn't that funny! After doing a lot of tests, that is actually what I consider the "sweet spot" for this combination! RFI NOTES: In regard to RFI (Radio Frequency Interference) this mic showed the typical "BAD" performance when held within a few inches of an iPhone (13 Pro Max) but is safe to use at a distance of 3 feet. 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. GAFFER TAPE SUPPLIED BY