SEARCH  WEBSITE

The most important discovery about this microphone-audio recorder combination (specific to this "CLOSE" proximity) is that it sounds much better with the audio recorder's LOW CUT filter ON (set to 160Hz)! This is one of those things I wouldn't have guessed, but at this ("CLOSE") proximity, there is way too much BASS (sounds "boomy") without these LOW CUT settings. I also tried using the MIC. LOWCUT (both of the settings) and they didn't sound good at all, but the 160Hz filter on the Zoom H1n audio recorder is making the audio sound pretty natural and "REAL" (which is my goal for the "starting point"). As I've mentioned before, the shock mount that comes with this microphone does NOT do a good enough job with removing handling noise, and this may not be an issue when using this in a stationary position (like you could when recording narration, a voiceover or a podcast) but when we get to trying this thing out for the "VLOG" and "BOOM" situations (especially if the boom operator has to move the mic while recording) this shock mount may not work. In regard to how "REAL" this things sounds (after using these custom settings) it sounds a lot better with the 160Hz LOW CUT (on the audio recorder) but I think it's still going to need a custom EQ. "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1n (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM (Stock) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 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 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 11:51:23 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 C DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: The most important discovery about this microphone-audio recorder combination (specific to this "CLOSE" proximity) is that it sounds much better with the audio recorder's LOW CUT filter ON (set to 160Hz)! This is one of those things I wouldn't have guessed, but at this ("CLOSE") proximity, there is way too much BASS (sounds "boomy") without these LOW CUT settings. I also tried using the MIC. LOWCUT (both of the settings) and they didn't sound good at all, but the 160Hz filter on the Zoom H1n audio recorder is making the audio sound pretty natural and "REAL" (which is my goal for the "starting point"). As I've mentioned before, the shock mount that comes with this microphone does NOT do a good enough job with removing handling noise, and this may not be an issue when using this in a stationary position (like you could when recording narration, a voiceover or a podcast) but when we get to trying this thing out for the "VLOG" and "BOOM" situations (especially if the boom operator has to move the mic while recording) this shock mount may not work. In regard to how "REAL" this things sounds (after using these custom settings) it sounds a lot better with the 160Hz LOW CUT (on the audio recorder) but I think it's still going to need 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

This newer, and smaller mic from Takstar is outputting a higher signal level than the older SGC-598. The only negatives are that this newer unit needs the LOW CUT filter turned on for this proximity (because it has a lot more rumble from ambient noise than tolerable) and no FURRY windscreen is available for this model (the older SGC-598 has a very affordable FURRY windscreen option, which is sometimes necessary for OUTDOOR vlogging). "VLOG" Proximity [ 22 inches / 55.5 cm] Zoom H1n (NO AUX. Amplifier) Takstar SGC-600 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 6.0 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS On 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 30, 2022 at 7:02:18 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: This newer, and smaller mic from Takstar is outputting a higher signal level than the older SGC-598. The only negatives are that this newer unit needs the LOW CUT filter turned on for this proximity (because it has a lot more rumble from ambient noise than tolerable) and no FURRY windscreen is available for this model (the older SGC-598 has a very affordable FURRY windscreen option, which is sometimes necessary for OUTDOOR vlogging). 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

At this "VLOG" proximity, this mic is sounding pretty natural (and "REAL") with these settings. I'm using both the stock FOAM + FURRY (Official) because in a vlogging scenario, you're often OUTDOORS. This combo is doing a pretty good job rejecting from the sides AND THE BACK! As I've mentioned before, the shock mount that comes with this microphone isn't super good...but I've been finding that it's even MORE important to make sure the output cable (from the mic) isn't rubbing against anything (that causes a lot of the handling noise I've mentioned before). "VLOG" Proximity [22 inches / 55.5 cm] Zoom H1n (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM + FURRY (Stock) 96k 24bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 6.0 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 @8.0 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: February 18, 2023 at 1:34:42 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 A DO THE "HIGHS" SOUND REAL? NOTES: At this "VLOG" proximity, this mic is sounding pretty natural (and "REAL") with these settings. I'm using both the stock FOAM + FURRY (Official) because in a vlogging scenario, you're often OUTDOORS. This combo is doing a pretty good job rejecting from the sides AND THE BACK! As I've mentioned before, the shock mount that comes with this microphone isn't super good...but I've been finding that it's even MORE important to make sure the output cable (from the mic) isn't rubbing against anything (that causes a lot of the handling noise I've mentioned before). 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

I like this combination at this "VLOG" proximity. It seems to be handling the wind noise a lot better than the Zoom H1n, as well as just coming out with a more of a natural, balanced sounding recording than the H1n (after all of the LOWCUT filters applied, both MIC. LOWCUT and REC. LOWCUT 120Hz). These settings do result in a level that's a little bit too low to use without boosting in post, but it handled that post-processing well, and I don't like to push the Zoom F1 REC. LEVEL past "HI-" because it introduces too much audio recorder preamp self-noise. "VLOG" Proximity [22 inches / 55.5 cm] Zoom F1 (NO AUX. Amplifier) Rode VideoMic Pro R Windscreen: FOAM + FURRY (Stock) 96k 24bit REC. SETTINGS 120 Hz REC. LOWCUT OFF REC. LIMITER "HI-" 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: May 4, 2022 at 9:25:20 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: I like this combination at this "VLOG" proximity. It seems to be handling the wind noise a lot better than the Zoom H1n, as well as just coming out with a more of a natural, balanced sounding recording than the H1n (after all of the LOWCUT filters applied, both MIC. LOWCUT and REC. LOWCUT 120Hz). These settings do result in a level that's a little bit too low to use without boosting in post, but it handled that post-processing well, and I don't like to push the Zoom F1 REC. LEVEL past "HI-" because it introduces too much audio recorder preamp self-noise. 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

Wow...I was really surprised how much higher the level is on this mic (than competing mics). However, with the lack of a granular gain control on the Zoom F1 (it only has 10 increments, not numbers or a gain dial) the "CLOSE" proximity requires using the LOW gain setting (any more and it will risk clipping with a loud voice). "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom F1 (NO AUX. Amplifier) Shure VP83 LensHopper + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER "LOW" 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 2:29:44 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: Wow...I was really surprised how much higher the level is on this mic (than competing mics). However, with the lack of a granular gain control on the Zoom F1 (it only has 10 increments, not numbers or a gain dial) the "CLOSE" proximity requires using the LOW gain setting (any more and it will risk clipping with a loud voice). 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

The level is slightly low at this "CLOSE" proximity, but since the Zoom F1 audio recorder does not allow smaller REC. GAIN increments, I would err on the side of being a bit low (so you don't clip) and use MID instead of going up to the next gain setting. "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom F1 (NO AUX. Amplifier) Rode VideoMic Pro R + Foam (Stock) 96k 24bit 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 9:25:21 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: The level is slightly low at this "CLOSE" proximity, but since the Zoom F1 audio recorder does not allow smaller REC. GAIN increments, I would err on the side of being a bit low (so you don't clip) and use MID instead of going up to the next gain setting. 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. OVERVIEW: This mic sounds pretty "REAL" and natural at this proximity, with these settings. LONG VERSION: This test was performed using the official Rode VMPR Deadcat (FURRY windscreen) on top of the stock FOAM windscreen (which is how it is designed to work). It sounds great at this "BOOM" proximity, as this microphone normally suffers from having too much BASS, especially at closer proximities (due to the "proximity" effect). I'm also using both the MIC. LOWCUT and the REC. LOWCUT and this helps to both reduce the amount of BASS and to lessen the unwanted sounds created by handling noise. Speaking of handling noise, the shock mount is pretty good, but the thing that you have to watch out for is the cable rubbing against the mic or whatever it's plugged into (but this is lessened by the use of the two LOWCUT filters). SPECIAL NOTE: Most places recommend not using a boom microphone at a distance greater than 3 feet, but I don't think that is practical (especially when shooting a WIDE shot) and so I've been experimenting with a number of mics up to 4 feet away, and this is one of those you can make work at that distance. Keep in mind that you'll have to boost the levels more in post, as I do not recommend going above a REC. LEVEL of 50 to get a clean signal from this audio recorder (and certainly not above 63). "BOOM" Proximity [35 inches / 88.8 cm] Zoom H1 AUX. Amplifier: None Rode VideoMic Pro R Windscreen: FOAM + FURRY (Stock) 96k 24bit REC. SETTINGS ON REC. LOWCUT OFF REC. LIMITER 37-50* 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 OKAY LESS THAN 1.1ft / 0.34m GOOD BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m GOOD BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 4, 2022 at 9:24:35 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS B DO THE "LOWS" SOUND REAL? MIDS A DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. OVERVIEW: This mic sounds pretty "REAL" and natural at this proximity, with these settings. LONG VERSION: This test was performed using the official Rode VMPR Deadcat (FURRY windscreen) on top of the stock FOAM windscreen (which is how it is designed to work). It sounds great at this "BOOM" proximity, as this microphone normally suffers from having too much BASS, especially at closer proximities (due to the "proximity" effect). I'm also using both the MIC. LOWCUT and the REC. LOWCUT and this helps to both reduce the amount of BASS and to lessen the unwanted sounds created by handling noise. Speaking of handling noise, the shock mount is pretty good, but the thing that you have to watch out for is the cable rubbing against the mic or whatever it's plugged into (but this is lessened by the use of the two LOWCUT filters). SPECIAL NOTE: Most places recommend not using a boom microphone at a distance greater than 3 feet, but I don't think that is practical (especially when shooting a WIDE shot) and so I've been experimenting with a number of mics up to 4 feet away, and this is one of those you can make work at that distance. Keep in mind that you'll have to boost the levels more in post, as I do not recommend going above a REC. LEVEL of 50 to get a clean signal from this audio recorder (and certainly not above 63). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

What is really interesting is that, when using the Zoom F2 32-bit float recorder, the audio sounds cleaner and more "REAL" without turning the +10 MIC. BOOST on (I had to turn it on for the other non-32-bit-float recorders, to get close to a proper level, but with the 32-bit float recorder, boosting a low level during editing sounds really clean!) Another good, and important thing to note, is that when I was recording indoors and I heard a jet plane going by outdoors, it didn't show up on the recording, even though it was loud enough for me to hear (and mention) while I was recording the test. Also, I think I might do an additional test with the FURRY windscreen, because as I've been listening with accurate (studio monitor) headphones, I've noticed this mic sounds too harsh and could use some "diffusion". It would be great if it sounds good (natural) with the FURRY windscreen on, as this would make the gear the same indoors and out! "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom F2 (NO AUX. Amplifier) Takstar SGC-598 Windscreen: Foam (Stock) 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 OFF MIC. LOWCUT N/A MIC. HIGH PASS OFF 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 7:32:08 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 B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: What is really interesting is that, when using the Zoom F2 32-bit float recorder, the audio sounds cleaner and more "REAL" without turning the +10 MIC. BOOST on (I had to turn it on for the other non-32-bit-float recorders, to get close to a proper level, but with the 32-bit float recorder, boosting a low level during editing sounds really clean!) Another good, and important thing to note, is that when I was recording indoors and I heard a jet plane going by outdoors, it didn't show up on the recording, even though it was loud enough for me to hear (and mention) while I was recording the test. Also, I think I might do an additional test with the FURRY windscreen, because as I've been listening with accurate (studio monitor) headphones, I've noticed this mic sounds too harsh and could use some "diffusion". It would be great if it sounds good (natural) with the FURRY windscreen on, as this would make the gear the same indoors and out! 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: This specific model of the microphone does NOT fully plug in (and you only get 1 channel of audio. I think it's the LEFT ear). 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 the test (in case I need to use the mic with this audio recorder for some reason) and the REC. LEVEL that's working well is 6.3 (I normally do not go above 6.3 on this recorder anyway, due to the self-noise). MIC-SPECIFIC: This is yet another test in which a mic sounds better with the Comica CVM-MF1 (Lavalier Furry). Also, this is one of the few mics that works (fairly well) WITHOUT a windscreen at all (I suspect it may have some built-in wind protection, because the top of the mic is bigger than any lavalier mic I've seen. To me, the fact that this sounds better with the FURRY is kind of a timesaver, because now I can leave the furry on for either INDOOR or OUTDOOR use (except for the fact that you need to wear it with dark clothing to hide it). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1n [NO AUX. BOOST] JK MIC-J 017 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 96k 24bit REC. SETTINGS OFF REC. LOWCUT OFF 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 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 8, 2023 at 5:41:11 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 B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: AUDIO RECORDER SPECIFIC: This specific model of the microphone does NOT fully plug in (and you only get 1 channel of audio. I think it's the LEFT ear). 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 the test (in case I need to use the mic with this audio recorder for some reason) and the REC. LEVEL that's working well is 6.3 (I normally do not go above 6.3 on this recorder anyway, due to the self-noise). MIC-SPECIFIC: This is yet another test in which a mic sounds better with the Comica CVM-MF1 (Lavalier Furry). Also, this is one of the few mics that works (fairly well) WITHOUT a windscreen at all (I suspect it may have some built-in wind protection, because the top of the mic is bigger than any lavalier mic I've seen. To me, the fact that this sounds better with the FURRY is kind of a timesaver, because now I can leave the furry on for either INDOOR or OUTDOOR use (except for the fact that you need to wear it with dark clothing to hide it). 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

One thing to note is that my settings for this proximity are a little bit low (but I do that to be more safe for a variety of voice levels, etc.) Also, I have been finding that using the MIC. LOWCUT creates a better file (for creating an EQ later) and having it on also helps reduce handling noise (but the shock mount is actually pretty good). "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom H1n Saramonic SR-VM4 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 4.3 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 8:32:41 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: One thing to note is that my settings for this proximity are a little bit low (but I do that to be more safe for a variety of voice levels, etc.) Also, I have been finding that using the MIC. LOWCUT creates a better file (for creating an EQ later) and having it on also helps reduce handling noise (but the shock mount is actually pretty 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

UPDATE: I still need to find a commonly available FURRY windscreen (to make this combination work OUTDOORS). ORIGINAL NOTES: Okay, this was unexpected: There is NO RFI in the recording, even though the level has to be boosted in post (there is not a REC. LEVEL on the transmitter/recorder unit). The reason why this was such a surprise, is that when I tried boosting the level of the first recording (at +0 MIC. BOOST) with this same combo at the "CLOSE" proximity, the RFI was really obvious...but then it was almost gone when recording at +10. So, it is VERY important to use the +10 MIC. BOOST for these settings to work. The reason is that when this MIC. BOOST is ON, the RFI (Radio Frequency Interference) is not noticed, but if it's at +0, this somehow CAUSES RFI noise. I initially thought this might mean that this mic-audio recorder combination would not work at a proximity any further than "CLOSE" but I was wrong. It's also important to make sure the MIC. LOWCUT is ON at this proximity, not only because it needs vibration reduction, but because it just makes it sound more balanced and "REAL" (I think it has too much BASS/LOWS without it). Overall, this microphone does NOT do a very good job reducing the background (ambient) noise at this "VLOG" proximity, so some noise reduction may have to be done in post. "VLOG" Proximity [22 inches / 55.5 cm] 7RYMS iRAY DW30 (Recorder) (NO AUX. Amplifier) Takstar SGC-600 (Shotgun) Windscreen: FOAM (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 +10 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 GOOD BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: April 16, 2023 at 1:18:35 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: UPDATE: I still need to find a commonly available FURRY windscreen (to make this combination work OUTDOORS). ORIGINAL NOTES: Okay, this was unexpected: There is NO RFI in the recording, even though the level has to be boosted in post (there is not a REC. LEVEL on the transmitter/recorder unit). The reason why this was such a surprise, is that when I tried boosting the level of the first recording (at +0 MIC. BOOST) with this same combo at the "CLOSE" proximity, the RFI was really obvious...but then it was almost gone when recording at +10. So, it is VERY important to use the +10 MIC. BOOST for these settings to work. The reason is that when this MIC. BOOST is ON, the RFI (Radio Frequency Interference) is not noticed, but if it's at +0, this somehow CAUSES RFI noise. I initially thought this might mean that this mic-audio recorder combination would not work at a proximity any further than "CLOSE" but I was wrong. It's also important to make sure the MIC. LOWCUT is ON at this proximity, not only because it needs vibration reduction, but because it just makes it sound more balanced and "REAL" (I think it has too much BASS/LOWS without it). Overall, this microphone does NOT do a very good job reducing the background (ambient) noise at this "VLOG" proximity, so some noise reduction may have to be done in post. 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. "AFAR" 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 12:21:57 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