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Again, in comparison to the older Takstar SGC-598, I noticed this one is louder, in fact loud enough that I had my AUX. amplifier (Neotek NTK059) set on LOW, FULL DIAL and the REC. GAIN to only 5.0 on the dial (the SGC-598 had to max. out the AUX. Amplifier at HIGH, FULL DIAL and the REC. GAIN at 6.3 (because I would never go above 6.3 on the Zoom H1n recorder). "BOOM" Proximity [35 inches / 88.8 cm] Zoom H1n AUX: Neoteck NTK059 Takstar SGC-600 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 5.0 REC. LEVEL AUX. SETTINGS OFF AUX. BASS LOW AUX. HIGH-LOW @FULL 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 16, 2022 at 11:58:39 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: Again, in comparison to the older Takstar SGC-598, I noticed this one is louder, in fact loud enough that I had my AUX. amplifier (Neotek NTK059) set on LOW, FULL DIAL and the REC. GAIN to only 5.0 on the dial (the SGC-598 had to max. out the AUX. Amplifier at HIGH, FULL DIAL and the REC. GAIN at 6.3 (because I would never go above 6.3 on the Zoom H1n recorder). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

This microphone has a self-noise that sounds like a calm ocean, even though it was easy to extract (using Noise Reduction effect in Audacity). I am recommending turning the MIC. LOW CUT filter on (for all "proximities") for a few different reasons, but it did not remove the "ocean" sound. What the MIC. LOW CUT did improve was (at this "CLOSE" proximity) it removed the excess lows/bass frequencies that occur due to the "proximity effect" (being too close to a microphone creates more bass). In this case of this microphone, the result is that it sounds more "REAL" and natural, so I'm keeping the MIC. LOW CUT on (it also helps reduce handling noise, as the shock mount on this mic is not too good). Like the older version of this mic, it is also interesting is that when using this with 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! The same was true with the Takstar SGC-598.) This microphone is also louder then the older version (the Takstar SGC-598) at the +10 setting. Likewise, the +10 boost on this mic is not a very good quality amplifier, so it sounds more fake when it's on, as well as amplifying that "ocean" sounding self-noise of the microphone. So, do NOT use the +10 boost when using this with the Zoom F2 at this CLOSE proximity. "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom F2 (NO AUX. Amplifier) Takstar SGC-600 + 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 ON 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 8:01:09 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS B DO THE "LOWS" SOUND REAL? MIDS A DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: This microphone has a self-noise that sounds like a calm ocean, even though it was easy to extract (using Noise Reduction effect in Audacity). I am recommending turning the MIC. LOW CUT filter on (for all "proximities") for a few different reasons, but it did not remove the "ocean" sound. What the MIC. LOW CUT did improve was (at this "CLOSE" proximity) it removed the excess lows/bass frequencies that occur due to the "proximity effect" (being too close to a microphone creates more bass). In this case of this microphone, the result is that it sounds more "REAL" and natural, so I'm keeping the MIC. LOW CUT on (it also helps reduce handling noise, as the shock mount on this mic is not too good). Like the older version of this mic, it is also interesting is that when using this with 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! The same was true with the Takstar SGC-598.) This microphone is also louder then the older version (the Takstar SGC-598) at the +10 setting. Likewise, the +10 boost on this mic is not a very good quality amplifier, so it sounds more fake when it's on, as well as amplifying that "ocean" sounding self-noise of the microphone. So, do NOT use the +10 boost when using this with the Zoom F2 at this CLOSE proximity. Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

I was amazed that this newer and smaller version of the Takstar provides higher signal output (the older SGC-598 needed the +10 MIC. BOOST at this proximity). "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom H1n (NO AUX. Amplifier) Takstar SGC-600 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 5.5 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS ? MIC. LOWCUT N/A MIC. HIGH PASS +0 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: April 17, 2022 at 12:02:51 AM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: I was amazed that this newer and smaller version of the Takstar provides higher signal output (the older SGC-598 needed the +10 MIC. BOOST at this proximity). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

ABOUT: At this "BOOM" proximity, I really prefer a 75 Hz MIC. LOWCUT (to the 150Hz) but because it's still going to need a custom EQ, I think I'll stick to the 150 Hz MIC. LOWCUT to remove handling and background noise. It still takes away too much BASS, but that's going to be added back with my custom EQ. UPDATE: Nice! I have super good news...I figured out how to remove the RFI from this combo. All you have to do is TURN OFF the wireless RECEIVER! That's right, if it's off there's no problem with RFI, but if it's ON, there is constant static from RFI, especially when it's closer than 3 feet. I'm going to test this some more, but for now this is a quick and easy fix, if you don't need to use the wireless receiver, that is. There is a small amount of RFI noise when I turn the MIC. BOOST all of the way down (to "0") on the dial, but when you have it at a normal level, this noise is not noticeable. PREVIOUS NOTE: I'm just starting this test, and I'm not sure if the RFI (Radio Frequency Interference) will render this microphone/audio recorder combination useless or not. The reason I don't know yet, is that I have identified that if the wireless RECEIVER is too close to the cable that attaches the microphone to the TRANSMITTER/Recorder, there is a ton of RFI. However, when I move the RECEIVER further away, it lessens considerably...and when I turn it OFF, the RFI MIGHT BE LOW ENOUGH to not cause a problem...so I'm still testing... As noted before, the shock mount that is included with this mic doesn't do a very good job of protecting it from the sound of bumps and/or wiggles, so you'll have to hold it steady in that case. (If I can find an affordable, aftermarket shock mount, I will update this review). "BOOM" Proximity [35 inches / 88.8 cm] 7RYMS iRAY DW30 (Recorder) (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM + FURRY (Stock) 48k 24-bit REC. SETTINGS N/A REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS 75 Hz MIC. LOWCUT N/A MIC. HIGH PASS @7 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: February 23, 2023 at 3:53:53 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: ABOUT: At this "BOOM" proximity, I really prefer a 75 Hz MIC. LOWCUT (to the 150Hz) but because it's still going to need a custom EQ, I think I'll stick to the 150 Hz MIC. LOWCUT to remove handling and background noise. It still takes away too much BASS, but that's going to be added back with my custom EQ. UPDATE: Nice! I have super good news...I figured out how to remove the RFI from this combo. All you have to do is TURN OFF the wireless RECEIVER! That's right, if it's off there's no problem with RFI, but if it's ON, there is constant static from RFI, especially when it's closer than 3 feet. I'm going to test this some more, but for now this is a quick and easy fix, if you don't need to use the wireless receiver, that is. There is a small amount of RFI noise when I turn the MIC. BOOST all of the way down (to "0") on the dial, but when you have it at a normal level, this noise is not noticeable. PREVIOUS NOTE: I'm just starting this test, and I'm not sure if the RFI (Radio Frequency Interference) will render this microphone/audio recorder combination useless or not. The reason I don't know yet, is that I have identified that if the wireless RECEIVER is too close to the cable that attaches the microphone to the TRANSMITTER/Recorder, there is a ton of RFI. However, when I move the RECEIVER further away, it lessens considerably...and when I turn it OFF, the RFI MIGHT BE LOW ENOUGH to not cause a problem...so I'm still testing... As noted before, the shock mount that is included with this mic doesn't do a very good job of protecting it from the sound of bumps and/or wiggles, so you'll have to hold it steady in that case. (If I can find an affordable, aftermarket shock mount, I will update this review). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

AUDIO RECORDER SPECIFIC: It is really interesting how this mic works with the Zoom F2 32-bit float recorder, at this "CLOSE" proximity: It doesn't need much MIC. GAIN (a setting of "1") and what's amazing about this 32-bit float file (from the Zoom F2) is that it actually comes out pretty clean after boosting the level in post-production. I like doing this, because it means you're using very little of the mic's pre-amp (which tends to "color" the signal). This is very different from how you would have to work if using a non-32-bit float recorder. RFI RATING: In regard to RFI (Radio Frequency Interference) this mic showed the typical "BAD" performance within LESS THAN 3 FEET (of an iPhone 13 Pro Max) but I'm rating it as "OKAY" (not "GOOD") to use at a distance of 3 feet or more, as I did hear some RFI AT AROUND 3 FEET when a calendar notification popped up on my iPhone 13 Pro Max (which causes me to wonder why the RF is stronger when that notification popped up). "CLOSE" Proximity [3.5 inches / 8.89 cm] Zoom F2 (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM + FURRY (Stock) 32-Bit Float REC. SETTINGS ON REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS 150 Hz MIC. LOWCUT N/A MIC. HIGH PASS 1 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE OKAY LESS THAN 1.1ft / 0.34m BAD BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: January 22, 2023 at 9:30:24 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: AUDIO RECORDER SPECIFIC: It is really interesting how this mic works with the Zoom F2 32-bit float recorder, at this "CLOSE" proximity: It doesn't need much MIC. GAIN (a setting of "1") and what's amazing about this 32-bit float file (from the Zoom F2) is that it actually comes out pretty clean after boosting the level in post-production. I like doing this, because it means you're using very little of the mic's pre-amp (which tends to "color" the signal). This is very different from how you would have to work if using a non-32-bit float recorder. RFI RATING: In regard to RFI (Radio Frequency Interference) this mic showed the typical "BAD" performance within LESS THAN 3 FEET (of an iPhone 13 Pro Max) but I'm rating it as "OKAY" (not "GOOD") to use at a distance of 3 feet or more, as I did hear some RFI AT AROUND 3 FEET when a calendar notification popped up on my iPhone 13 Pro Max (which causes me to wonder why the RF is stronger when that notification popped up). 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. 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, 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 H1 (NO AUX. Amplifier) Takstar SGC-600 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 37 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: May 4, 2022 at 12:47:37 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: RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. This 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, 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

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 F2 [NO AUX. BOOST] Saramonic SR-M1W (for Blink 500) WINDSCREEN: Stock (Foam) 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 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 12:23:22 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: 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

WARNING: This microphone does not work with this transmitter/recorder (too much RFI). LONG VERSION: There are a lot of bad things about this combo (and nothing against Saramonic or 7RYMS). The first thing is that the signal this lavalier mic puts out is way too weak for this transmitter/recorder to record a decent level. As I've mentioned in other tests of this transmitter/recorder, when the level starts out and is brought up in post-production, you can clearly hear the (normally unnoticeable) low-level RFI that (I think) is caused by this device (a transmitter) continually "looking" for the RECEIVER. This mic also just doesn't sound good on this recorder (the LOWS, MIDS and HIGHS don't match what the recorder captures very well. Some recorders ADD bass/lows and certain mics sound good with this, but this transmitter/recorder starts out pretty neutral, and this mic doesn't sound good with that. "LAV" Proximity [7 inches / 17.78 cm] 7RYMS iRAY DW30 (Recorder) [NO AUX. BOOST] Saramonic SR-M1W (Lavalier) 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 N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE BAD LESS THAN 1.1ft / 0.34m N/A BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m N/A BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: February 25, 2023 at 12:14:54 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: WARNING: This microphone does not work with this transmitter/recorder (too much RFI). LONG VERSION: There are a lot of bad things about this combo (and nothing against Saramonic or 7RYMS). The first thing is that the signal this lavalier mic puts out is way too weak for this transmitter/recorder to record a decent level. As I've mentioned in other tests of this transmitter/recorder, when the level starts out and is brought up in post-production, you can clearly hear the (normally unnoticeable) low-level RFI that (I think) is caused by this device (a transmitter) continually "looking" for the RECEIVER. This mic also just doesn't sound good on this recorder (the LOWS, MIDS and HIGHS don't match what the recorder captures very well. Some recorders ADD bass/lows and certain mics sound good with this, but this transmitter/recorder starts out pretty neutral, and this mic doesn't sound good with that. 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. I tested this combo with and without the MIC. LOWCUT on, and at this "VLOG" proximity, it not only sounds a lot better with it off, the shock mount is so good on this mic that it doesn't really need the MIC. LOWCUT to reduce sounds from vibrations, etc. If you choose to use the MIC. LOWCUT, just remember it will need a different EQ (the one I create will be specific to these settings). "VLOG" Proximity [ 22 inches / 55.5 cm] Zoom H1 (NO AUX. Amplifier) Shure VP83 LensHopper + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 21 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 2:28:46 PM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: RFI WARNING: The Zoom H1 (v1) has noticeable RFI (Radio Frequency Interference) when used at less than 5 FEET from an iPhone 13 Pro max. This is a major limitation, especially for LAV use, because if the recorder is in the pocket of a groom, and they have an iPhone somewhere in their coat, this is going to cause RFI. I tested this combo with and without the MIC. LOWCUT on, and at this "VLOG" proximity, it not only sounds a lot better with it off, the shock mount is so good on this mic that it doesn't really need the MIC. LOWCUT to reduce sounds from vibrations, etc. If you choose to use the MIC. LOWCUT, just remember it will need a different EQ (the one I create will be specific to these settings). 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

Normally I would turn the MIC. LOWCUT filter ON, but this microphone has a good shock mount and it because it sounds so much better with the MIC. LOWCUT set to OFF, that is how I prefer to set it. This mic has a really high output (when compared with competing products) so we can keep it at a low REC. GAIN setting (in this case it's at MID). "VLOG" Proximity [22 inches / 55.5 cm] Zoom F1 (NO AUX. Amplifier) Shure VP83 LensHopper + 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 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 2:29:43 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: Normally I would turn the MIC. LOWCUT filter ON, but this microphone has a good shock mount and it because it sounds so much better with the MIC. LOWCUT set to OFF, that is how I prefer to set it. This mic has a really high output (when compared with competing products) so we can keep it at a low REC. GAIN setting (in this case it's at MID). 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 NOTES: 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, the audio level has to be boosted in post (at lot more) and this exposes the RFI noise (that always exists on this unit, but that shows up more if your record level is too low). This might mean that this microphone-audio recorder combination is NOT going to work at a proximity any further than this one (it won't work at the "VLOG" "BOOM" or "AFAR" proximities). For other reasons, it's also important to make sure the MIC. LOWCUT is ON, not for because it needs vibration reduction at this "CLOSE" proximity (you'll normally use it on a stand for a podcast, narration, etc.) but because it just makes it sound more balanced and "REAL" (I think it has too much BASS/LOWS without it). "CLOSE" Proximity [3.5 inches / 8.89 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 12:43:51 AM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS A DO THE "LOWS" SOUND REAL? MIDS A DO THE "MIDS" SOUND REAL? HIGHS/TREBLE A DO THE "HIGHS" SOUND REAL? NOTES: RFI NOTES: 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, the audio level has to be boosted in post (at lot more) and this exposes the RFI noise (that always exists on this unit, but that shows up more if your record level is too low). This might mean that this microphone-audio recorder combination is NOT going to work at a proximity any further than this one (it won't work at the "VLOG" "BOOM" or "AFAR" proximities). For other reasons, it's also important to make sure the MIC. LOWCUT is ON, not for because it needs vibration reduction at this "CLOSE" proximity (you'll normally use it on a stand for a podcast, narration, etc.) but because it just makes it sound more balanced and "REAL" (I think it has too much BASS/LOWS without 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

+ AUX. Amplifier (Neotek NTK059) at HIGH, FULL DIAL. This configuration produces a file that needs noise reduction, but with this audio recorder it comes out pretty clean. "BOOM" Proximity [35 inches / 88.8 cm] Zoom F1 AUX: Neoteck NTK059 Takstar SGC-598 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "HI-" REC. LEVEL AUX. SETTINGS OFF AUX. BASS HIGH AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS OFF MIC. LOWCUT N/A MIC. HIGH PASS +10 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE - LESS THAN 1.1ft / 0.34m - BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m - BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: April 29, 2022 at 10:21:20 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: + AUX. Amplifier (Neotek NTK059) at HIGH, FULL DIAL. This configuration produces a file that needs noise reduction, but with this audio recorder it comes out pretty clean. 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