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OVERVIEW: This recorder is probably one of my favorite budget AUDIO tools out there, and the good news is it's quite popular on Ebay (and can even be found on Amazon, without Prime shipping, in my region at least). This recorder records at 1536Kbps using the ATJ2129 pen chip, and is really small (compared to most Zoom recorders) but it's the biggest of the generic ones I’ve tested. The good thing about this being bigger, is that it has a bigger screen, though still I find the screen a little bit difficult to see (viewing angle issues) but it has the standard audio level indicator with a -12 designation, so I'm happy. MAIN POINTS: PART 1: IS IT PORTABLE? PART 2: IS IT AFFORDABLE? PART 3: IS IT COMMON? PART 4: HOW’S THE QUALITY? PART 5: IS IT EASY TO USE? PART 6: NEEDS ADD-ONS? PART 7: WHERE DO I BUY? PART 1: IS IT PORTABLE? PART 2: IS IT AFFORDABLE? PART 3: IS IT COMMON? PART 4: HOW’S THE QUALITY? PART 5: IS IT EASY TO USE? PART 6: NEEDS ADD-ONS? PART 7: WHERE DO I BUY? CONCLUSION: REAL REVIEWS Long-term reviews of photo & video gear. KIT PLAN RECOMMENDATION: NOT Q-P-A-C-E THE PERFECT PART This image is 100% REAL and no A.I. (or Photoshop compositing) were used to create it...I know because I took the image myself! Quality? LIGHT USE OK YES MEDIUM USE OK YES HEAVY USE OK ? Portable? POCKET YES CAMERA BAG YES BACKPACK YES Affordable? AVERAGE NEW PRICE YES (<$50) *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE ? **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON YES ON EBAY YES ON OFFER UP NO Easy To Use? SKILL LEVEL INTERMEDIATE OVERVIEW: This recorder is probably one of my favorite budget AUDIO tools out there, and the good news is it's quite popular on Ebay (and can even be found on Amazon, without Prime shipping, in my region at least). This recorder records at 1536Kbps using the ATJ2129 pen chip, and is really small (compared to most Zoom recorders) but it's the biggest of the generic ones I’ve tested. The good thing about this being bigger, is that it has a bigger screen, though still I find the screen a little bit difficult to see (viewing angle issues) but it has the standard audio level indicator with a -12 designation, so I'm happy. MAIN POINTS: PART 1: IS IT PORTABLE? PART 2: IS IT AFFORDABLE? PART 3: IS IT COMMON? PART 4: HOW’S THE QUALITY? PART 5: IS IT EASY TO USE? PART 6: NEEDS ADD-ONS? PART 7: WHERE DO I BUY? PART 1: IS IT PORTABLE? PART 2: IS IT AFFORDABLE? PART 3: IS IT COMMON? PART 4: HOW’S THE QUALITY? PART 5: IS IT EASY TO USE? PART 6: NEEDS ADD-ONS? PART 7: WHERE DO I BUY? CONCLUSION: These reviews are just my opinion and are focused on my Q.P.A.C.E. packing method, so they're not comprehensive. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which didn't). If I said anything negative I apologize, as these products still may work well for you in your situation, but they were not Q.P.A.C.E (Quality, Portable, Affordable, Common, Easy-to-Use) enough for my budget filmmaking KIT PLANS .

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 at CLOSE (3.5 inches) proximity with the MIC. BOOST at +0, the REC. GAIN at 37, the AUX. amp at LOW/Full Dial. "CLOSE" Proximity [ 3.5 inches / 8.89 cm] Zoom H1 AUX: Neoteck NTK059 Takstar SGC-598 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 37 REC. LEVEL AUX. SETTINGS OFF AUX. BASS LOW AUX. HIGH-LOW @FULL AUX. OUTPUT MIC. SETTINGS Off 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 3, 2022 at 11:10:08 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 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 at CLOSE (3.5 inches) proximity with the MIC. BOOST at +0, the REC. GAIN at 37, the AUX. amp at LOW/Full Dial. Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

AUDIO RECORDER SPECIFIC: 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. My first impression of this combination (after testing this mic on a few other recorders) is that the MONO file it creates lacks both BASS/LOWS and HIGHS. I don't quite understand why other audio recorders (especially the Zoom F1) are able to capture what seems to be a fuller sounding recording. It may be because of the fact it's capturing in MONO, or perhaps that the A/D converter chips in the Zoom H1 are older and therefore inferior to the one in the F1? GENERAL (MIC-SPECIFIC) I've got quite a few notes about this mic (and most of them apply to any audio recorder). The first thing I'm noting, is that this mic does NOT sound good with the FURRY windscreen I've been testing recently (the Comica CVM-MF1). It does sound good (natural and "REAL") with the included stock FOAM windscreen. So, until I find a furry windscreen that matches this mic well, I cannot recommend this for OUTDOOR use (I'm looking into the white versions of the Ursa and Movo furry windscreens because the copy I have of this mic is white). Next, this microphone does NOT do a good job of reducing background noise. I know, it's an omnidirectional mic, but in comparison to a lot of the other lavaliers I've tested, it doesn't do well here. This can be used to your advantage in certain situations, however. One example might be if you're recording somebody like a comedian (or anyone speaking in front of a large crowd) as it may do a good job capturing a bit of the audience's reaction, etc. This can be helpful if you want to avoid combining multiple audio sources in post (i.e. one for the crowd noise, one for presenter). "LAV" Proximity [7 inches / 17.78 cm] Zoom H1 [NO AUX. BOOST] Saramonic SR-M1W (for Blink 500) WINDSCREEN: Stock (Foam) 96k 24bit REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER 63 REC. LEVEL AUX. SETTINGS N/A AUX. BASS N/A AUX. HIGH-LOW N/A AUX. OUTPUT MIC. SETTINGS N/A MIC. LOWCUT N/A MIC. HIGH PASS N/A MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE GOOD LESS THAN 1.1ft / 0.34m JUST OKAY BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: January 5, 2023 at 1:22:48 AM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS C DO THE "LOWS" SOUND REAL? MIDS B DO THE "MIDS" SOUND REAL? HIGHS/TREBLE C DO THE "HIGHS" SOUND REAL? NOTES: AUDIO RECORDER SPECIFIC: 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. My first impression of this combination (after testing this mic on a few other recorders) is that the MONO file it creates lacks both BASS/LOWS and HIGHS. I don't quite understand why other audio recorders (especially the Zoom F1) are able to capture what seems to be a fuller sounding recording. It may be because of the fact it's capturing in MONO, or perhaps that the A/D converter chips in the Zoom H1 are older and therefore inferior to the one in the F1? GENERAL (MIC-SPECIFIC) I've got quite a few notes about this mic (and most of them apply to any audio recorder). The first thing I'm noting, is that this mic does NOT sound good with the FURRY windscreen I've been testing recently (the Comica CVM-MF1). It does sound good (natural and "REAL") with the included stock FOAM windscreen. So, until I find a furry windscreen that matches this mic well, I cannot recommend this for OUTDOOR use (I'm looking into the white versions of the Ursa and Movo furry windscreens because the copy I have of this mic is white). Next, this microphone does NOT do a good job of reducing background noise. I know, it's an omnidirectional mic, but in comparison to a lot of the other lavaliers I've tested, it doesn't do well here. This can be used to your advantage in certain situations, however. One example might be if you're recording somebody like a comedian (or anyone speaking in front of a large crowd) as it may do a good job capturing a bit of the audience's reaction, etc. This can be helpful if you want to avoid combining multiple audio sources in post (i.e. one for the crowd noise, one for presenter). Keep in mind, these settings will not establish the exact level you'll need for every scene (where the audio level "bounces" around -12) but my goal is to provide a good starting point (that comes out clean, after boosting in post). It's also important to use these "recommended settings" for my microphone-specific EQ files to work properly (they won't work as intended if any of the "audio variables" are different). The EQ file was created to correct any sonic imperfections of the microphone or wind protection (foam, furry) and have been created with Audacity (the free audio editor) to make them as affordable as possible. Also, it's important to always monitor (accurate headphones) your audio while recording so you can hear any problems and make any changes needed to your audio. GAFFER TAPE SUPPLIED BY

This was a test of the Takstar SGC-600 microphone at +10 MIC. BOOST, plugged directly into the Zoom F1 using a REC. LEVEL of HIGH- and the MIC. LOWCUT filter is ON. "VLOG" Proximity [ 22 inches / 55.5 cm] Zoom F1 (NO AUX. Amplifier) Takstar SGC-600 + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS OFF REC. LOWCUT OFF REC. LIMITER "HI-" 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 12:54:06 AM REAL RATINGS After testing each microphone, I like to know if it sounds realistic (accurate lows/bass, mids, highs/treble) in combination with the recorder and/or AUX. amplifier, to see if it needs EQ. LOWS/BASS DO THE "LOWS" SOUND REAL? MIDS DO THE "MIDS" SOUND REAL? HIGHS/TREBLE DO THE "HIGHS" SOUND REAL? NOTES: This was a test of the Takstar SGC-600 microphone at +10 MIC. BOOST, plugged directly into the Zoom F1 using a REC. LEVEL of HIGH- and the MIC. LOWCUT filter is ON. 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 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

© 2022 SilverLight Photo Co. The above photo is 100% real, as no A.I. or Photoshop tricks were used to make it. Waterfront Pier with Yellow Sunset < Back to All BUY PRINTS Camera Settings LENS 12-60 Panasonic 12-60 3.5-5.6 SENSOR 2x Panasonic GX85 CUSTOM CAMERA SETTINGS SEE SETTINGS Camera Placement CAMERA SUPPORT TRIPOD CAMERA HEIGHT ? CAMERA ANGLE ? PHOTOGRAPHER NOTES: This lens-sensor combination (see info above) was barely able to capture this high-contrast scene. The lens was a Panasonic 12-60 3.5-5.6, and the camera a Panasonic LUMIX GX85. I say it was "barely" able to capture this scene because this lens starts out both too sharp and too contrasty (using DEFAULT -0-0-0-0 settings)...so I used my custom settings (see link above) to tone things down, then created a custom, lens-sensor specific LUT to perfect it. *As A.I. (artificial intelligence) started sneaking into the photo & video production industries, I decided to go for 100% realism in my work. What this means for me, is to shoot for realistic-looking photos and video content. My approach includes using custom, lens-sensor specific CAMERA SETTINGS (and sometimes lens-sensor LUTs when needed). I never use A.I. to generate images, and I don't do tricks using Photoshop. There are adjustments I make to produce more accurate PRINTS but my goal is to limit editing a much as possible.

© 2023 SilverLight Photo Co. The above photo is 100% real, as no A.I. or Photoshop tricks were used to make it. Waterfront Walk by the Big Tree < Back to All BUY PRINTS Camera Settings LENS 12-60 Panasonic 12-60 3.5-5.6 SENSOR 2x Panasonic GX85 CUSTOM CAMERA SETTINGS SEE SETTINGS Camera Placement CAMERA SUPPORT TRIPOD CAMERA HEIGHT ? CAMERA ANGLE ? PHOTOGRAPHER NOTES: This tree is one of my favorite things about the Des Moines Marina. I love how it can provide framing for just about any waterfront shot you want to get. This was taken with the Panasonic GX85 and the 12-60 3.5-5.6 which I have since started using with the Tiffen Black Pro Mist 1/8, but these settings work (see the settings link) if you use my lens-sensor LUT as well. This lens has become the most common Panasonic kit lens (for the Micro Four Thirds mount) but I didn't like it initially...until I figured out these settings (and made this LUT). These settings control the CONTRAST and SHARPNESS and COLOR to lessen the digital artifacts (and "hot pixels") that were being caused by too much of those. My LUT brings the contrast and color back to looking REAL...See my LUTs page for more information. *As A.I. (artificial intelligence) started sneaking into the photo & video production industries, I decided to go for 100% realism in my work. What this means for me, is to shoot for realistic-looking photos and video content. My approach includes using custom, lens-sensor specific CAMERA SETTINGS (and sometimes lens-sensor LUTs when needed). I never use A.I. to generate images, and I don't do tricks using Photoshop. There are adjustments I make to produce more accurate PRINTS but my goal is to limit editing a much as possible.

© 2022 SilverLight Photo Co. The above photo is 100% real, as no A.I. or Photoshop tricks were used to make it. Sitting on Bench at the Beach Park < Back to All BUY PRINTS Camera Settings LENS 18mm Sigma 18-35 1.8 ART SENSOR 2x Panasonic GX85 CUSTOM CAMERA SETTINGS SEE SETTINGS Camera Placement CAMERA SUPPORT TRIPOD CAMERA HEIGHT ? CAMERA ANGLE LEVEL PHOTOGRAPHER NOTES: It was a windy day near the beach at Des Moines Marina. I didn't log the exact tripod height, but I remember that the legs were adjusted at different lengths to accommodate the uneven terrain. The lens was the heavy Sigma ART 18-35 1.8 (on a Nikon F/G to M43 TILT/SHIFT adapter) which was a bit precarious. The camera was the Panasonic LUMIX GX85, which has excellent in-body image stabilization, which kept this heavy lens in check. I used my custom (lens-sensor specific) camera settings AND my custom LUT to finish the image. This image is a frame taken from 4K video footage. *As A.I. (artificial intelligence) started sneaking into the photo & video production industries, I decided to go for 100% realism in my work. What this means for me, is to shoot for realistic-looking photos and video content. My approach includes using custom, lens-sensor specific CAMERA SETTINGS (and sometimes lens-sensor LUTs when needed). I never use A.I. to generate images, and I don't do tricks using Photoshop. There are adjustments I make to produce more accurate PRINTS but my goal is to limit editing a much as possible.

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

A few things I'm considering regarding this microphone-audio recorder combo is that the microphone would probably be used with a FURRY windscreen in practice (but I don't have the official one from Shure as of yet) so that would cut the level down a bit, and I may need to change the REC. GAIN to 5 (from 4.5). "VLOG" Proximity [ 22 inches / 55.5 cm] Zoom H1n (NO AUX. Amplifier) Shure VP83 LensHopper + Foam (Stock) WAV 24-bit/96kHz REC. SETTINGS Off REC. LOWCUT Off REC. LIMITER 4.5 REC. LEVEL AUX. SETTINGS AUX. BASS AUX. HIGH-LOW AUX. OUTPUT MIC. SETTINGS OFF MIC. LOWCUT N/A MIC. HIGH PASS +20 MIC. BOOST (RFI) RADIO FREQUENCY INTERFERENCE LESS THAN 1.1ft / 0.34m BETWEEN 1.1ft / 0.34m -2.2ft / 0.67m BETWEEN 2.2ft / 0.67m -3.3ft / 1m BETWEEN 3.3ft / 1m -4.4ft / 1.34m Published: May 5, 2022 at 2:29:34 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: A few things I'm considering regarding this microphone-audio recorder combo is that the microphone would probably be used with a FURRY windscreen in practice (but I don't have the official one from Shure as of yet) so that would cut the level down a bit, and I may need to change the REC. GAIN to 5 (from 4.5). 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

I do not recommend this combination. There are a number of reasons why I don't recommend this microphone/audio recorder combination, but the most important is that (at this "CLOSE" proximity) neither the +20 or the +0 work. The reason is that it doesn't work is the audio recorder (which is also a transmitter) does NOT have a way to set the REC. LEVEL, so the MIC. BOOST is the only way to set the level, but when you're at +20, the level is too high (it clips). What's also sad is that at +0, the audio doesn't clip, but it can't be boosted in post WITHOUT REVEALING A LOT OF RFI (Radio Frequency Interference). So essentially, this microphone/audio recorder combination does not work at this "CLOSE" proximity (around 3.5 inches or 8.89 cm). "CLOSE" Proximity [3.5 inches / 8.89 cm] 7RYMS iRAY DW30 (Recorder) (NO AUX. Amplifier) Shure VP83 (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 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: April 17, 2023 at 10:18:25 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 do not recommend this combination. There are a number of reasons why I don't recommend this microphone/audio recorder combination, but the most important is that (at this "CLOSE" proximity) neither the +20 or the +0 work. The reason is that it doesn't work is the audio recorder (which is also a transmitter) does NOT have a way to set the REC. LEVEL, so the MIC. BOOST is the only way to set the level, but when you're at +20, the level is too high (it clips). What's also sad is that at +0, the audio doesn't clip, but it can't be boosted in post WITHOUT REVEALING A LOT OF RFI (Radio Frequency Interference). So essentially, this microphone/audio recorder combination does not work at this "CLOSE" proximity (around 3.5 inches or 8.89 cm). 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