![]() ![]() Using the the EXH-6 would allow you to use your own mics and cable.Īlternatively, you could use the ECM-6, a 19.5 feet extension cable for the capsule mount. When a boom is needed, you can mount the F1 on the end of a boom pole with the SGH-6 and run headphones down the pole - but control will be difficult. However, like any camera mounted mic, it might not always get you close to the action. Additional mic modules are availableĪll of these mics have been reasonably priced for what they do, and they give loads of flexibility for the F1. The SSH-6, like the MSH-6, is a good choice if finishing in mono for TV. It’s a mid-side configured mic with a shotgun directional center. Think of the SSH-6 as a combo between the MSH-6 and the SGH-6. Lastly, is the stereo shotgun SSH-6 at $150. The XYH-6 costs $80 and is a X/Y mic that allows for either a 90 degree or 120 degree spread of the stereo image. This is the best stereo configuration if the final product is going to be mono, like for TV. The MSH-6 for $80 is a mid-side mic capsule. ![]() There are also three stereo capsules to choose from. However, at just $70, it’s a great way to add versatility to the F1. Phantom power is not supplied to these inputs, so condenser mics that require it will not be an option. Additionally, the EXH-6 has a 20dB pad, giving it the ability to capture high-output sound sources. We like this because it gives you standard inputs and gain control knobs. ![]() Adding the EXH-6, a dual XLR/TRS combo input capsule, allows you to add two XLR or ¼-inch inputs instead of a mic capsule. However, there are a slew of mic capsules that work with the F1. Module Optionsĭepending on the kit you get, either the lav or the shotgun will be included. Why not just give it a 1-10 rating and go from there? Especially since the rest of the mics work that way. Not only is it difficult to describe, it’s also not the most intuitive input setting menu to use. ZOOM RECORDER 2 STEREO INPUTS LAVALIER MIC PLUSEach setting had a plus and minus setting and hi had two plus options. There are 10 steps of gain, but they are labeled auto, low, mid and hi. Mic input is controlled in the menu and we found it to be oddly executed. Along with the attachment location, the lav gain control is different than the dial on the mic modules. We then moved onto using the lav on the F1-LP. This is only if you’re handling the recorder or mount directly - it was not an issue when handling just the camera during normal shooting. There is a shock mount that dampens the handling noises somewhat, but at gain levels above 5, it is noticeable. The mic is not completely isolated from the connection point. Whenever we touched the mount, the noise was captured by the mic. Once we were successfully recording, we experienced loads of handling noise from the included mount. The good part about this is that if you don’t have a card that is supported, they are very very cheap - less than $15 for 32GB. We swapped out the media for another of the same card and it worked fine. They require slower, older media: a microSD or microSDHC card class 4 or higher, and up to 32 GB. We have experienced the same issue with the H6 we use occasionally. Luckily, we have many more microSD cards, though most of our cards are too fast and therefore were not compatible with the Zoom. This was confusing since we had just successfully formatted the card in the recorder and even used their internal test to make sure it was okay. However, once we pressed the record button on the F1-SP, it gave us an invalid SD card error message. Once we set our gain and had a healthy signal, we thought we were ready to go. The LMF-2 is an omnidirectional microphone. Along with the shotgun mic module, the SP includes the SMF-1 shock mount that attaches to a camera’s hot or cold shoe.Īt just $200, the lavalier that comes with the F1-LP connects via the one eighth inch stereo mic line combo input, rather than the 10-pin modular mic connection. The SP option comes equipped with the modular SGH-6 shotgun mic and is a bit more expensive, at $250. The only difference between the SP and LP models is the included mic. The big trick to the F1 is that it’s compatible with all of the interchangeable mic modules for the Zoom H5 and H6 recorders. ![]() The F1 is available in two configurations, the F1-SP, mounted with the SGH-6 mono shotgun mic module, and the F1-LP, with the LMF-2 lavalier. It includes an on-board limiter, is powered by two AAA batteries and records onto a MicroSD card. The Zoom F1 is a two channel field recorder, capturing up to 24-bits at 96 kHz in either WAV or MP3. To go along with their existing ecosystem of modular mics, Zoom has made yet another dexterous audio recorder with the Zoom F1 Field Recorder. ![]()
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