This used to be a top-of-the-line telephoto zoom (it was the first AF 80-200 2.8 Nikon produced) and the build quality is excellent. However, it's heavy and slow to operate. It's slow because of the push-pull zoom, and because of the focus (there is a focus limiting feature that helps with that). Optically, it's a great lens, and though each lens-sensor combo usually needs some work to look its best (this one did) I think these settings are rendering a pretty nice image, one that is "REAL" in almost every respect. Any links below are affiliate links. FILTER: None Nikon 80-200 2.8 D ADAPTER: Viltrox NF-M43x (.71x) Panasonic GX85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -3 NOISE +4 SATURATION -1 HIGHLIGHT SHADOW OFF iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST A IS THE CONTRAST "REAL"? SHARPNESS A IS THE SHARPNESS "REAL"? NOISE B IS THE NOISE "REAL"? COLOR A IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: This used to be a top-of-the-line telephoto zoom (it was the first AF 80-200 2.8 Nikon produced) and the build quality is excellent. However, it's heavy and slow to operate. It's slow because of the push-pull zoom, and because of the focus (there is a focus limiting feature that helps with that). Optically, it's a great lens, and though each lens-sensor combo usually needs some work to look its best (this one did) I think these settings are rendering a pretty nice image, one that is "REAL" in almost every respect. The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

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 test was done using both the FOAM + FURRY windscreens (Official) because the normal application of this "VLOG" proximity is OUTDOOR vlogging (though it could be used INDOORS if needed). My goal is for every database entry for the "VLOG" proximity to use the FURRY windscreen, but there are a few mics I don't have the official windscreens for (but I will update them as soon as I can). Due to the 2 LOWCUT (MIC. and REC.) filters being used, I will need to create a custom EQ, as it removed too much of the BASS/LOWS, but this was necessary to reduce the handling noise (because of the poor-quality shock mount) as well as to reduce extra low frequencies that enter the mic as a result of environmental noises that occur in the background. It does do a pretty good job of rejecting audio from the sides and even the rear of the mic (especially with these custom settings). "VLOG" Proximity [22 inches / 55.5 cm] Zoom H1 (NO AUX. Amplifier) Comica CVM-VM20 (Shotgun) Windscreen: FOAM + FURRY (Official) 96k 24-bit REC. SETTINGS ON REC. LOWCUT OFF REC. LIMITER 50 REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS 150 Hz MIC. LOWCUT N/A MIC. HIGH PASS 5.0 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 16, 2023 at 5:22:29 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. This test was done using both the FOAM + FURRY windscreens (Official) because the normal application of this "VLOG" proximity is OUTDOOR vlogging (though it could be used INDOORS if needed). My goal is for every database entry for the "VLOG" proximity to use the FURRY windscreen, but there are a few mics I don't have the official windscreens for (but I will update them as soon as I can). Due to the 2 LOWCUT (MIC. and REC.) filters being used, I will need to create a custom EQ, as it removed too much of the BASS/LOWS, but this was necessary to reduce the handling noise (because of the poor-quality shock mount) as well as to reduce extra low frequencies that enter the mic as a result of environmental noises that occur in the background. It does do a pretty good job of rejecting audio from the sides and even the rear of the mic (especially with these custom settings). Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

AUX. SETTINGS: 1. I'm using the Comica CVM-D03 Dual Lavalier as an AUX. AMP 2. The mic is plugged into the AUX. AMP (into Mic 1 or 2) 3. The AUX. AMP is set to MONO ("M") 4. The AUX. AMP is set to FULL (on the dial) 5. The AUX. AMP sends (VIA 3.5 AUX. cable) from OUTPUT port to Zoom F2 (audio recorder) INPUT "PROXIMITY" SPECIFIC: This is a 32-bit float recorder (the Zoom F2) so you really don't have to change settings when moving from one "proximity" (recording distance) to another (even the "AFAR" proximity). The only thing you COULD change is turning the REC. LOWCUT on/off. When using the "CLOSE" proximity INDOORS, you don't really need the LOWCUT to reduce bumps and/or wind noise from being in an outdoor environment, but I'm leaving it ON because I sometimes use "CLOSE" outdoors as well (either for narration or nat. sound capture) it works best for me to have the same settings for both. It does lack a little bit of BASS with the REC. LOWCUT on however, so I will need to create a custom EQ for each proximity. Note that REC. LOWCUT can only be activated in Zoom app (and only on the Bluetooth version of the F2). The way I'm using this mic is a bit different than it was designed. I'm plugging it into the Comica CVM-D03 Dual Lavalier booster pack (which was designed to provide plug-in power for 2 Comica lavalier mics) and it actually works to power AND boost the Rode VideoMicro, which improves the audio quality a lot compared to just plugging this mic into the Zoom F2. I did try that as well, and while it does sort of work, because you can raise the level of the 32-bit float file in post-production, but it sounds way, way better (at ALL proximities) when using the Comica CVM-D03 as an AUX. amplifier (see my settings above). BACKGROUND: This was the first mini (camera-top) shotgun mic I purchased, and I almost got rid of it for a number of reasons. The first reason I didn't like this mic was that it does not have its own power (it takes power from the device it's plugged into). The second reason I didn't like it, was that I also like to plug mics into headphone amplifiers (sometimes) to boost the level when needed, this mic couldn't do that because it requires that plug-in power (and the headphone amplifier isn't supplying that). Other mics have a similar problem (the Diety D3 Pro) but for a different reason. They have "smart" power, which means they only turn on when they sense it's plugged into a camera! IN THE FUTURE: I have another strange idea that might be fun, and that's to get another one of these, and run 2 of them into that booster TO CREATE A STEREO PAIR OF MICS (yet the Zoom F2 doesn't capture stereo, so it would already be mixed to MONO, but it would still gather audio from 2 mics, and could sound really good. "BOOM" Proximity [35 inches / 88.8 cm] Zoom F2 AUX. AMP: Comica CVM-D03 Dual Lavalier Rode VideoMicro (Shotgun) Windscreen: FURRY (Stock) 32-Bit Float REC. SETTINGS ON REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW FULL AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE ? LESS THAN 1.1ft / 0.34m ? BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m ? BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: February 6, 2023 at 4:21:15 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 ? 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. Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

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. SHORT VERSION: Using these settings at this "VLOG" proximity is working pretty well, but this mic still has a little bit too much BASS/LOWS, and so it will need a custom EQ. LONG VERSION: This test was done using the official FURRY windscreen (on top of the stock FOAM windscreen) which is an expensive windscreen to add, but I recommend it (and these settings are specific to this combination). Something that's interesting about using this FURRY windscreen with these settings (and at this proximity) is that it seems to improve the mic's ability to reject audio from the BACK of the microphone (I think it's due to the fact that the fabric is twice as thick where the velcro closure overlaps). It also rejects pretty well from the sides, so this combination works pretty well for vlogging scenarios. "VLOG" Proximity [22 inches / 55.5 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 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 2:24:37 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. SHORT VERSION: Using these settings at this "VLOG" proximity is working pretty well, but this mic still has a little bit too much BASS/LOWS, and so it will need a custom EQ. LONG VERSION: This test was done using the official FURRY windscreen (on top of the stock FOAM windscreen) which is an expensive windscreen to add, but I recommend it (and these settings are specific to this combination). Something that's interesting about using this FURRY windscreen with these settings (and at this proximity) is that it seems to improve the mic's ability to reject audio from the BACK of the microphone (I think it's due to the fact that the fabric is twice as thick where the velcro closure overlaps). It also rejects pretty well from the sides, so this combination works pretty well for vlogging scenarios. Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

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 7:29:44 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: 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). Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

This test really showed the magic of using this AUX. (headphone) amplifier. The gain on the Zoom F1 audio recorder was only at MID+ (which is excellent) and I'm using the headphone amplifier to add the rest of the gain boost. "BOOM" Proximity [35 inches / 88.8 cm] Zoom F1 AUX: Neoteck NTK059 Rode VideoMic Pro R + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "MID+" REC. LEVEL AUX. SETTINGS OFF AUX. BASS LOW AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS ON MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 4, 2022 at 2:25:18 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 test really showed the magic of using this AUX. (headphone) amplifier. The gain on the Zoom F1 audio recorder was only at MID+ (which is excellent) and I'm using the headphone amplifier to add the rest of the gain boost. Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

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. Overall, this microphone sounds pretty good (i.e. it sounds natural and "REAL") and this is with the included (stock) FOAM windscreen. However, what is really interesting is that this microphone does not sound good with the Comica...(furry lavalier windscreen). That's interesting because most of the lav microphones I've tested sound BETTER with that furry windscreen. (This microphone doesn't seem to benefit from a reduction of reverb when used INDOORS, as a lot of the other microphones seemed to. This means both that this microphone is not a good choice for me to use OUTDOORS (with the Comica furry). Also, it means, even if I did find another lavalier furry windscreen, this one will be slower to use because I can't just leave a furry windscreen on all the time (I prefer to use lav mics that sound better with a furry windscreen (both indoors and out). The good news is that they did a really good job making this microphone sound natural with the included (stock) FOAM windscreen, which I can't say is the case for a lot of other lavalier mics (the ones I've tested of course). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1 [NO AUX. BOOST] 7RYMS Lavalier (for iRAY DW30) WINDSCREEN: Foam (Stock) 96k 24-bit REC. SETTINGS OFF REC. LOWCUT N/A REC. LIMITER N/A REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: January 4, 2023 at 6:01:21 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: 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. Overall, this microphone sounds pretty good (i.e. it sounds natural and "REAL") and this is with the included (stock) FOAM windscreen. However, what is really interesting is that this microphone does not sound good with the Comica...(furry lavalier windscreen). That's interesting because most of the lav microphones I've tested sound BETTER with that furry windscreen. (This microphone doesn't seem to benefit from a reduction of reverb when used INDOORS, as a lot of the other microphones seemed to. This means both that this microphone is not a good choice for me to use OUTDOORS (with the Comica furry). Also, it means, even if I did find another lavalier furry windscreen, this one will be slower to use because I can't just leave a furry windscreen on all the time (I prefer to use lav mics that sound better with a furry windscreen (both indoors and out). The good news is that they did a really good job making this microphone sound natural with the included (stock) FOAM windscreen, which I can't say is the case for a lot of other lavalier mics (the ones I've tested of course). Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

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 4:58:39 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). Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

WARNING: This microphone does not work with this audio recorder. It does not fully plug in to the input jack, and this causes the input mode to change (it switches from internal to external mic mode when slightly bumped). This is not only because it has a screw-lock plug, but also because of the angle of the plastic around the plug (the older H1 doesn't lock either, but it plugs in straighter and doesn't accidentally switch modes). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1n [NO AUX. BOOST] JK MIC-J 055 (Lavalier) WINDSCREEN: Comica CVM-MF1 (Furry) 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 N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE - LESS THAN 1.1ft / 0.34m - BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m - BETWEEN 2.2ft / 0.67m -3.3ft / 1m - BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: March 28, 2023 at 11:00:36 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 microphone does not work with this audio recorder. It does not fully plug in to the input jack, and this causes the input mode to change (it switches from internal to external mic mode when slightly bumped). This is not only because it has a screw-lock plug, but also because of the angle of the plastic around the plug (the older H1 doesn't lock either, but it plugs in straighter and doesn't accidentally switch modes). Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

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 1:16:15 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. Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.

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 1:30:24 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). Remember to always monitor your audio while you're recording (using accurate headphones) because good settings can't fix bad audio. Also, these settings will not establish the exact level you'll need for every scene, but the goal is to provide a good starting point that will become clean, after adjusting in post. Additionally, these "custom settings" are used to make the Microphone-Specific EQ files work (as they won't work as intended if any of they aren't used). The EQ files were created to correct any imperfections of the microphone and/or wind protection (FOAM and/or FURRY) and were made in Audacity (the free audio editor) to make them as affordable & universal as possible.