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USE-CASE (SCENARIO): While this specific data entry is labelled as the "LAV" proximity, my main purpose for having this recorder in my KIT, is to use it to capture AMBIENT audio, NOT for dialog. So, when I'm using the "LAV" designation in conjunction with the BUILT-IN MICS, it is simply to give the distance a number so I can figure out the REC. LEVEL. At the "LAV" proximity, 8 is the REC. LEVEL that is working well (8 is at 9-o-clock on the dial). The use-case for these settings is when I'm capturing BOTH dialogue AND ambient sound. It would be good for something like a walk-around PODCAST, but I don't see how it will be useful for video (because the mic would be in the shot). I'm still experimenting with this one though. Also, because I mostly use this to capture ambient surround audio (a soundscape) my policy is to (almost) always record in the 4-channel mode. So, if using it for narration, it's important that I speak into the XY side of the recorder (the side with the display) to get natural-sounding dialog. One more thing is I always use the Zoom WSU-1 Universal Windscreen with this recorder, as I think the audio sounds more natural and "REAL" with this (It sounds to "metallic" without this furry windscreen, and it helps reduce REVERB in INDOOR situations). "LAV" Proximity [7 inches / 17.78 cm] Zoom H2n [NO AUX. BOOST] (Built-In Mics) Surround (4-Channel) WINDSCREEN: Furry (Zoom WSU-1) 96k 24bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 8 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 22, 2023 at 2:08:53 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: USE-CASE (SCENARIO): While this specific data entry is labelled as the "LAV" proximity, my main purpose for having this recorder in my KIT, is to use it to capture AMBIENT audio, NOT for dialog. So, when I'm using the "LAV" designation in conjunction with the BUILT-IN MICS, it is simply to give the distance a number so I can figure out the REC. LEVEL. At the "LAV" proximity, 8 is the REC. LEVEL that is working well (8 is at 9-o-clock on the dial). The use-case for these settings is when I'm capturing BOTH dialogue AND ambient sound. It would be good for something like a walk-around PODCAST, but I don't see how it will be useful for video (because the mic would be in the shot). I'm still experimenting with this one though. Also, because I mostly use this to capture ambient surround audio (a soundscape) my policy is to (almost) always record in the 4-channel mode. So, if using it for narration, it's important that I speak into the XY side of the recorder (the side with the display) to get natural-sounding dialog. One more thing is I always use the Zoom WSU-1 Universal Windscreen with this recorder, as I think the audio sounds more natural and "REAL" with this (It sounds to "metallic" without this furry windscreen, and it helps reduce REVERB in INDOOR situations). 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. "CLOSE" Proximity [3.5 inches / 8.89 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 4, 2023 at 5:11:17 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

MICROPHONE SPECIFIC: I'm still testing, but my first impression is that this mic is pretty flat, and has what it takes to sound pretty good after EQ. 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] 7RYMS Lavalier (for iRAY DW30) WINDSCREEN: FOAM (Stock) 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 4:47:37 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: I'm still testing, but my first impression is that this mic is pretty flat, and has what it takes to sound pretty good after EQ. 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

"VLOG" Test: This test was at my "VLOG" [22 inches...] proximity and is using the official Rode FURRY (VMPR Deadcat). I used the +20 MIC. BOOST because this microphone usually needs that for non-32-bit-float audio recorders, and while I could leave it at +0 and push the ability of the 32-bit float file from the Zoom F2 during post-production (i.e. by bringing up the audio level while editing) it becomes difficult to monitor the audio using headphones if the level is too low. RFI NOTES: One thing I did notice during this test, was how much RFI (radio frequency interference) affects this microphone. I had an iPhone 13 Pro Max approx. 3 feet away, and I heard noticeable interference, and then when I put the microphone close to the phone (within a few inches) it confirmed my suspicions that the iPhone was the source of the RFI (and at that point, the interference was so loud it was almost painful). So, this microphone isn't as good of a tool as it was before such powerful phones were available. With the +20 MIC. BOOST turned on, this mic picks up a LOT of background noise (I could hear people talking upstairs) and I would therefore only use this microphone when you don't mind picking up background noise (which I think is fine in an OUTDOOR vlogging situation). (I DO NOT use this combination for INDOOR work such as VOICEOVERS, NARRATION or PODCASTS because of this. Additionally, this mic has too much BASS with the FOAM + FURRY windscreens, so it needs a custom EQ. "VLOG" Proximity [22 inches / 55.5 cm] Zoom F2 (NO AUX. Amplifier) Rode VideoMic Pro R Windscreen: FOAM + FURRY (Official) 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 ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE JUST OK 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: December 27, 2022 at 9:23:31 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: "VLOG" Test: This test was at my "VLOG" [22 inches...] proximity and is using the official Rode FURRY (VMPR Deadcat). I used the +20 MIC. BOOST because this microphone usually needs that for non-32-bit-float audio recorders, and while I could leave it at +0 and push the ability of the 32-bit float file from the Zoom F2 during post-production (i.e. by bringing up the audio level while editing) it becomes difficult to monitor the audio using headphones if the level is too low. RFI NOTES: One thing I did notice during this test, was how much RFI (radio frequency interference) affects this microphone. I had an iPhone 13 Pro Max approx. 3 feet away, and I heard noticeable interference, and then when I put the microphone close to the phone (within a few inches) it confirmed my suspicions that the iPhone was the source of the RFI (and at that point, the interference was so loud it was almost painful). So, this microphone isn't as good of a tool as it was before such powerful phones were available. With the +20 MIC. BOOST turned on, this mic picks up a LOT of background noise (I could hear people talking upstairs) and I would therefore only use this microphone when you don't mind picking up background noise (which I think is fine in an OUTDOOR vlogging situation). (I DO NOT use this combination for INDOOR work such as VOICEOVERS, NARRATION or PODCASTS because of this. Additionally, this mic has too much BASS with the FOAM + FURRY windscreens, so it needs a custom EQ. 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

EQ STATUS: I do need to make a custom EQ for this combination. It needs more BASS and MIDS because of what the MIC. LOWCUT and REC. LOWCUT do. These are needed to reduce the background noise and the handling noise when using at this "BOOM" proximity, but they make the original file you have to capture not sound "REAL" or natural. OVERVIEW The short story is, at this "BOOM" proximity it needs the Neotek AUX. AMP. The only proximity the Zoom F1 sounds clean enough at, without the AUX. AMP, is at the "CLOSE" proximity (the REC. LEVEL options are very limited on the F1, and because the pre-amp gets noisy above "HI-" I can't get clean enough audio without using it to add what I call a BOOST. AUX. AMP SETTINGS*: 1. MIC. BOOST (gain on the MIC) = 3 (or 4 at 4 feet) 2. AUX. AMP High/Low set to LOW (a switch) 3. AUX. AMP gain dial set to FULL (all of the way up) *At this ("BOOM") proximity, these are the settings I'm using (in general, at 3 feet I use 3 on the MIC. BOOST, and though most people don't recommend booming further away than 3 feet, I tried it at 4 feet at 4 on the MIC. BOOST, and it still sounded pretty good). MIC. SPECIFIC: Another thing to note is that in low light (learned this while vlogging after dark) I can't read the MIC. BOOST (mic gain) dial well, because the paint is a red color...so if you need to see it in low light, I recommend painting over it with a lighter color (be careful to not change the position of the mark of course). REGARDING MIC. LOWCUT: When testing this mic on another audio recorder, using the MIC. LOWCUT (either setting) sounded really bad (not natural at all) yet, when using both the FOAM + FURRY (that are included with the mic) the MIC. LOWCUT setting of 150Hz sounds good (it sounds natural and "REAL" as I say). Another weird thing is that the REC. LOWCUT (the one on the audio recorder) didn't sound good with this mic/audio recorder combination (but it sounded better than the MIC. LOWCUT on a different recorder). Anyways, it is really good this higher lowcut setting (150 vs 75) sounds natural, as the shock mount that comes with this mic isn't very effective, and the extra lowcut really helps (which is the main reason why lowcut filters are included on mics anyway). Also, the fact that it sounds more natural with the FOAM + FURRY is great, because this means you can just leave the FURRY on all of the time (INDOORS & OUTDOORS!) AUDIO RECORDER SPECIFIC: An important note specific to this audio recorder, is that the "HI-" REC. LEVEL setting sounds "cleaner" to me (less self-noise) than the next lower setting "MID+". It doesn't seem like it should, because it's a higher gain setting, but that is how it's sounding to me (it's kind of like how the self-noise on the Zoom H1 v1 is lower at a REC. LEVEL of 37 than it is at 36!). Also, because the Zoom F1 doesn't have a lot of options for REC. LEVEL steps (not "numerical" as the Zoom H1) I suggest keeping the REC. LEVEL set to "HI-" on the audio recorder, and then just tweaking the gain (when needed) by adjusting gain dial on the microphone (which is pretty nice because you can set it anywhere between 0-10 with stepless adjustments). "BOOM" Proximity [35 inches / 88.8 cm] Zoom F1 AUX: Neoteck NTK059 Comica CVM-VM20 (Shotgun) Windscreen: FOAM + FURRY (Stock) 96k 24-bit REC. SETTINGS 120 Hz REC. LOWCUT OFF REC. LIMITER "HI-" REC. LEVEL AUX. SETTINGS OFF AUX. BASS LOW AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS 150 Hz MIC. LOWCUT N/A MIC. HIGH PASS 3 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 9, 2023 at 2:28:06 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 D DO THE "LOWS" SOUND REAL? MIDS C DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: EQ STATUS: I do need to make a custom EQ for this combination. It needs more BASS and MIDS because of what the MIC. LOWCUT and REC. LOWCUT do. These are needed to reduce the background noise and the handling noise when using at this "BOOM" proximity, but they make the original file you have to capture not sound "REAL" or natural. OVERVIEW The short story is, at this "BOOM" proximity it needs the Neotek AUX. AMP. The only proximity the Zoom F1 sounds clean enough at, without the AUX. AMP, is at the "CLOSE" proximity (the REC. LEVEL options are very limited on the F1, and because the pre-amp gets noisy above "HI-" I can't get clean enough audio without using it to add what I call a BOOST. AUX. AMP SETTINGS*: 1. MIC. BOOST (gain on the MIC) = 3 (or 4 at 4 feet) 2. AUX. AMP High/Low set to LOW (a switch) 3. AUX. AMP gain dial set to FULL (all of the way up) *At this ("BOOM") proximity, these are the settings I'm using (in general, at 3 feet I use 3 on the MIC. BOOST, and though most people don't recommend booming further away than 3 feet, I tried it at 4 feet at 4 on the MIC. BOOST, and it still sounded pretty good). MIC. SPECIFIC: Another thing to note is that in low light (learned this while vlogging after dark) I can't read the MIC. BOOST (mic gain) dial well, because the paint is a red color...so if you need to see it in low light, I recommend painting over it with a lighter color (be careful to not change the position of the mark of course). REGARDING MIC. LOWCUT: When testing this mic on another audio recorder, using the MIC. LOWCUT (either setting) sounded really bad (not natural at all) yet, when using both the FOAM + FURRY (that are included with the mic) the MIC. LOWCUT setting of 150Hz sounds good (it sounds natural and "REAL" as I say). Another weird thing is that the REC. LOWCUT (the one on the audio recorder) didn't sound good with this mic/audio recorder combination (but it sounded better than the MIC. LOWCUT on a different recorder). Anyways, it is really good this higher lowcut setting (150 vs 75) sounds natural, as the shock mount that comes with this mic isn't very effective, and the extra lowcut really helps (which is the main reason why lowcut filters are included on mics anyway). Also, the fact that it sounds more natural with the FOAM + FURRY is great, because this means you can just leave the FURRY on all of the time (INDOORS & OUTDOORS!) AUDIO RECORDER SPECIFIC: An important note specific to this audio recorder, is that the "HI-" REC. LEVEL setting sounds "cleaner" to me (less self-noise) than the next lower setting "MID+". It doesn't seem like it should, because it's a higher gain setting, but that is how it's sounding to me (it's kind of like how the self-noise on the Zoom H1 v1 is lower at a REC. LEVEL of 37 than it is at 36!). Also, because the Zoom F1 doesn't have a lot of options for REC. LEVEL steps (not "numerical" as the Zoom H1) I suggest keeping the REC. LEVEL set to "HI-" on the audio recorder, and then just tweaking the gain (when needed) by adjusting gain dial on the microphone (which is pretty nice because you can set it anywhere between 0-10 with stepless adjustments). 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

As I've mentioned, this microphone sounds really good at this "CLOSE" proximity. It has plenty of output as well, but I actually like to use it at +20 MIC. BOOST not only because it's easier to set the switch all of the way up (instead of in the middle at +0) but it also sounds better than boosting it in post production. "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom H1n (NO AUX. Amplifier) Shure VP83 LensHopper + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 3.5 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS OFF 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 5, 2022 at 2:29:35 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 DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: As I've mentioned, this microphone sounds really good at this "CLOSE" proximity. It has plenty of output as well, but I actually like to use it at +20 MIC. BOOST not only because it's easier to set the switch all of the way up (instead of in the middle at +0) but it also sounds better than boosting it in post production. 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

IMPORTANT NOTE: I'm using the Neoteck AUX. amplifier for this test (at the "BOOM" proximity) so if you're not using this to boost the audio, you'll have to raise the levels a lot more in post. I'm debating whether or not I should do tests using this AUX. (headphone) amplifier, because my guess is there will be times when people don't notice it in these notes (and they'll try to use this microphone at this distance, without it...and that won't work as well). *Note that you still cannot use this combination with the wireless RECEIVER turned on (there is way too much RFI when it's on) so basically you can't use this as a wireless device (with this mic). "BOOM" Proximity [35 inches / 88.8 cm] 7RYMS iRAY DW30 (Recorder) AUX. Amplifier: Neoteck 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 LOW (L) AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE GOOD* 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: February 24, 2023 at 4:12:24 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: IMPORTANT NOTE: I'm using the Neoteck AUX. amplifier for this test (at the "BOOM" proximity) so if you're not using this to boost the audio, you'll have to raise the levels a lot more in post. I'm debating whether or not I should do tests using this AUX. (headphone) amplifier, because my guess is there will be times when people don't notice it in these notes (and they'll try to use this microphone at this distance, without it...and that won't work as well). *Note that you still cannot use this combination with the wireless RECEIVER turned on (there is way too much RFI when it's on) so basically you can't use this as a wireless device (with this mic). 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: I can't really recommend this microphone/audio recorder combination as a good solution for a lavalier mic like this, because the recorder DOES NOT HAVE A LOCK/HOLD function (and the REC. LEVEL dial can get bumped if you put it in somebody's pocket). This microphone only records a MONO signal and not a stereo one like when used with the Zoom H1. Like the Zoom H1 too, this mic doesn't sound as good as the Zoom F1 (it's not as full). I don't know if this has to do with the differences between how much gain was applied to each test in post-production or what, but I've learned I can't push the Zoom H1 or H1n beyond 63 or 6.3 on the dial respectively, because the pre-amps become too noisy above that. So, maybe it's just because this microphone comes in as MONO and not in stereo as it does on the Zoom F1, or perhaps the Zoom F1 has a better pre-amp? GENERAL (MIC-SPECIFIC): I've got quite a few notes about this mic (and most of them apply to any audio recorder). The first thing I'm noting, is that this mic does NOT sound good with the FURRY windscreen I've been testing recently (the Comica CVM-MF1). It does sound good (natural and "REAL") with the included stock FOAM windscreen. So, until I find a furry windscreen that matches this mic well, I cannot recommend this for OUTDOOR use (I'm looking into the white versions of the Ursa and Movo furry windscreens because the copy I have of this mic is white). Next, this microphone does NOT do a good job of reducing background noise. I know, it's an omnidirectional mic, but in comparison to a lot of the other lavaliers I've tested, it doesn't do well here. This can be used to your advantage in certain situations, however. One example might be if you're recording somebody like a comedian (or anyone speaking in front of a large crowd) as it may do a good job capturing a bit of the audience's reaction, etc. This can be helpful if you want to avoid combining multiple audio sources in post (i.e. one for the crowd noise, one for presenter). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1n [NO AUX. BOOST] Saramonic SR-M1W (for Blink 500) WINDSCREEN: Stock (Foam) 32-Bit Float REC. SETTINGS OFF REC. LOWCUT N/A REC. LIMITER 6.3 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 GOOD LESS THAN 1.1ft / 0.34m JUST OKAY 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 5, 2023 at 1:21:25 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 C DO THE "HIGHS" SOUND REAL? NOTES: AUDIO RECORDER SPECIFIC: I can't really recommend this microphone/audio recorder combination as a good solution for a lavalier mic like this, because the recorder DOES NOT HAVE A LOCK/HOLD function (and the REC. LEVEL dial can get bumped if you put it in somebody's pocket). This microphone only records a MONO signal and not a stereo one like when used with the Zoom H1. Like the Zoom H1 too, this mic doesn't sound as good as the Zoom F1 (it's not as full). I don't know if this has to do with the differences between how much gain was applied to each test in post-production or what, but I've learned I can't push the Zoom H1 or H1n beyond 63 or 6.3 on the dial respectively, because the pre-amps become too noisy above that. So, maybe it's just because this microphone comes in as MONO and not in stereo as it does on the Zoom F1, or perhaps the Zoom F1 has a better pre-amp? GENERAL (MIC-SPECIFIC): I've got quite a few notes about this mic (and most of them apply to any audio recorder). The first thing I'm noting, is that this mic does NOT sound good with the FURRY windscreen I've been testing recently (the Comica CVM-MF1). It does sound good (natural and "REAL") with the included stock FOAM windscreen. So, until I find a furry windscreen that matches this mic well, I cannot recommend this for OUTDOOR use (I'm looking into the white versions of the Ursa and Movo furry windscreens because the copy I have of this mic is white). Next, this microphone does NOT do a good job of reducing background noise. I know, it's an omnidirectional mic, but in comparison to a lot of the other lavaliers I've tested, it doesn't do well here. This can be used to your advantage in certain situations, however. One example might be if you're recording somebody like a comedian (or anyone speaking in front of a large crowd) as it may do a good job capturing a bit of the audience's reaction, etc. This can be helpful if you want to avoid combining multiple audio sources in post (i.e. one for the crowd noise, one for presenter). 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

There isn't much to say in terms of SETTINGS (because this recorder is a 32-bit float recorder, and you can't set any settings) so instead I'll focus on one of the most important things that affect quality: wind protection. There's a really good story here, and that is that after a number of tests, I discovered I like to use this lavalier microphone with a Comica CVM-MF1 furry windscreen (better than with the stock FOAM windscreen) because it sounds more "REAL". It sounds more natural and balanced in terms of levels of lows/bass, mids and treble/highs with the FURRY, but too "tinny" (too much treble) and "thin" with the stock FOAM windscreen. "LAV" Proximity [7 inches / 17.78 cm] Zoom F2 [NO AUX. BOOST] Zoom LMF-2 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 32-Bit Float REC. SETTINGS OFF 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: December 20, 2022 at 3:41:48 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 A DO THE "LOWS" SOUND REAL? MIDS A DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: There isn't much to say in terms of SETTINGS (because this recorder is a 32-bit float recorder, and you can't set any settings) so instead I'll focus on one of the most important things that affect quality: wind protection. There's a really good story here, and that is that after a number of tests, I discovered I like to use this lavalier microphone with a Comica CVM-MF1 furry windscreen (better than with the stock FOAM windscreen) because it sounds more "REAL". It sounds more natural and balanced in terms of levels of lows/bass, mids and treble/highs with the FURRY, but too "tinny" (too much treble) and "thin" with the stock FOAM windscreen. 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. Unfortunately 37 didn't work, so I had to use 43 on the Zoom H1, and had to bump the mic gain to 6 (On Dial) "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1 (NO AUX. Amplifier) Deity V-Mic D3 Pro + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 43 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS Off MIC. LOWCUT N/A MIC. HIGH PASS 6.0 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: March 10, 2022 at 11:01:01 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. Unfortunately 37 didn't work, so I had to use 43 on the Zoom H1, and had to bump the mic gain to 6 (On Dial) 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

Test at "CLOSE" proximity of the Saramonic SR-VM4 microphone at +20 MIC. BOOST, plugged directly into a Zoom F1 audio recorder at MID REC. GAIN. "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom F1 (NO AUX. Amplifier) Saramonic SR-VM4 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "MID" 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 12:53:15 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: Test at "CLOSE" proximity of the Saramonic SR-VM4 microphone at +20 MIC. BOOST, plugged directly into a Zoom F1 audio recorder at MID REC. GAIN. 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

These SETTINGS are for using the BUILT-IN (XY) MICS at the "AFAR" proximity...still testing... A few random notes are: 1. The BUILT-IN mics cannot be used without a windscreen (not sure if FOAM or FURRY is best, but when they're used BARE, the mics are way too sensitive, and they can't even handle normal speech without clipping from certain plosives). 2. A shock mount is necessary when using the BUILT-IN MICS (I will test Movo shock mounts...) "AFAR" Proximity Zoom H1n (NO AUX. Amplifier) (BUILT-IN) FOAM OR FURRY? WAV 24-bit/96kHz REC. SETTINGS ? REC. LOWCUT ? REC. LIMITER ? REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW 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 24, 2023 at 3:25:54 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: These SETTINGS are for using the BUILT-IN (XY) MICS at the "AFAR" proximity...still testing... A few random notes are: 1. The BUILT-IN mics cannot be used without a windscreen (not sure if FOAM or FURRY is best, but when they're used BARE, the mics are way too sensitive, and they can't even handle normal speech without clipping from certain plosives). 2. A shock mount is necessary when using the BUILT-IN MICS (I will test Movo shock mounts...) 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