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This is a test of the Takstar SGC-600 with a +10 MIC. BOOST, MIC. LOWCUT set to ON, using a headphone amplifier (Neotek) at LOW, FULL DIAL. The level is pretty good, but at this proximity this microphone does not reject the background noise too well (and after trying some quick Noise Reduction using Audacity, I don't think it's good enough). "BOOM" Proximity [35 inches / 88.8 cm] Zoom F1 AUX: Neoteck NTK059 Takstar SGC-600 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER ? 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: May 4, 2022 at 12:54:11 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 DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: This is a test of the Takstar SGC-600 with a +10 MIC. BOOST, MIC. LOWCUT set to ON, using a headphone amplifier (Neotek) at LOW, FULL DIAL. The level is pretty good, but at this proximity this microphone does not reject the background noise too well (and after trying some quick Noise Reduction using Audacity, I don't think it's good enough). 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 combination does not work (too much RFI). The RFI is coming from the transmitter/recorder itself (whether or not the RECEIVER is on) so there's no hope for this mic/audio recorder combination. I (unless I add an AUX. amplifier, but it would have to be the Comica Dual Lav, as this mic requires plug-in power). The test with the receiver ON makes the RFI even worse (and it's constant, no matter what the distance). I'm going to have to remove this mic from the list of mics I can use with this transmitter/recorder. "CLOSE" Proximity [3.5 inches / 8.89 cm] 7RYMS iRAY DW30 (Recorder) [NO AUX. BOOST] Rode VideoMicro 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 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 24, 2023 at 11:31:22 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: WARNING: This combination does not work (too much RFI). The RFI is coming from the transmitter/recorder itself (whether or not the RECEIVER is on) so there's no hope for this mic/audio recorder combination. I (unless I add an AUX. amplifier, but it would have to be the Comica Dual Lav, as this mic requires plug-in power). The test with the receiver ON makes the RFI even worse (and it's constant, no matter what the distance). I'm going to have to remove this mic from the list of mics I can use with this transmitter/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

Normally I would add an AUX. (headphone) amplifier for the "BOOM" proximity, but in this case, using what I consider the maximum record level of 6.3 (on the dial) of the Zoom H1n worked pretty well. I've learned that this recorder (and many of the budget Zoom recorders) have too much self-noise above 6.3 (or 63 on the Zoom H1). "BOOM" Proximity [35 inches / 88.8 cm] Zoom H1n BOOST: None Rode VideoMic Pro R WINDSCREEN: FOAM (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 6.3 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 9:25:07 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 add an AUX. (headphone) amplifier for the "BOOM" proximity, but in this case, using what I consider the maximum record level of 6.3 (on the dial) of the Zoom H1n worked pretty well. I've learned that this recorder (and many of the budget Zoom recorders) have too much self-noise above 6.3 (or 63 on the Zoom H1). 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 am not recommending this microphone/audio recorder combination, because it has too much RFI (Radio Frequency Interference) when used in conjunction with this wireless transmitter/recorder. It is sometimes faint, but it changes in intensity and it's MUCH louder when the RECEIVER is ON! The first, and worst, thing I noticed is that I'm getting a sound like the mic is moving around, hitting the inside of the furry windscreen, and it completely ruins the audio. I might be able to fix this by adding a FOAM windscreen (stock) to the mic capsule before adding the FURRY over the top of it. I don't really like this solution, because it means that my settings & EQ will require those 2 specific pieces of wind protection to work (and if I lose and can't get another of either, I would be stuck). The sound from this combination (with the Comica FURRY windscreen) is full, but a bit too much in that both the BASS and the MIDS feel boosted in an unnatural way (which is contrary to my goal of keeping things REAL). I could fix this with EQ, but there are some other problems with this combination that I'm still thinking about (as I might not recommend this microphone/audio recorder combination at all). This combination also produces too much sibilance (hissing when there's s-ess) even with the FURRY windscreen (this could be fixed by adding the FOAM windscreen underneath the furry, or by placing the mic under thick clothing, but that will not always be the use case. "LAV" Proximity [7 inches /17.78 cm] 7RYMS iRAY DW30 (Recorder) [NO AUX. BOOST] Xvive LV1 (Lavalier) WINDSCREEN: FURRY (Comica) 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 BAD BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BAD BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: March 26, 2023 at 8:16:15 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 C DO THE "MIDS" SOUND REAL? HIGHS/TREBLE B DO THE "HIGHS" SOUND REAL? NOTES: IMPORTANT NOTE: I am not recommending this microphone/audio recorder combination, because it has too much RFI (Radio Frequency Interference) when used in conjunction with this wireless transmitter/recorder. It is sometimes faint, but it changes in intensity and it's MUCH louder when the RECEIVER is ON! The first, and worst, thing I noticed is that I'm getting a sound like the mic is moving around, hitting the inside of the furry windscreen, and it completely ruins the audio. I might be able to fix this by adding a FOAM windscreen (stock) to the mic capsule before adding the FURRY over the top of it. I don't really like this solution, because it means that my settings & EQ will require those 2 specific pieces of wind protection to work (and if I lose and can't get another of either, I would be stuck). The sound from this combination (with the Comica FURRY windscreen) is full, but a bit too much in that both the BASS and the MIDS feel boosted in an unnatural way (which is contrary to my goal of keeping things REAL). I could fix this with EQ, but there are some other problems with this combination that I'm still thinking about (as I might not recommend this microphone/audio recorder combination at all). This combination also produces too much sibilance (hissing when there's s-ess) even with the FURRY windscreen (this could be fixed by adding the FOAM windscreen underneath the furry, or by placing the mic under thick clothing, but that will not always be the use case. 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

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