Azden SGM – 1X and Zoom H4n Mic Test

Posted in All, Gear Reviews

Everyone talks about how the Rode Mic is the standard for HDSLR audio, but there is one big problem for me; it is a stereo microphone. The reason this is a problem is because my wireless lav is stereo also and the Zoom H4n only offers one stereo output but two XLR outputs. After a lot of research I found the Azden SGM – 1X. Here are the results…

The Zoom H4n mic pics up sound very well and doesn’t need much EQ touching in post. My biggest problem is how low it is recorded and how much I have to bump it up. The mic needs to be pointed exactly at the target and sometimes you can’t be only a few feet away from your subject. Would work fine for voice overs.

The Azden did ok with the ‘flat’ setting but when put in the low cut setting it sounded great. I am very happy the purchase and I do recommend it. When listening closely I could hear my overhead fan but with some minor touching and music, it would disappear. Anyone who wants to keep the stereo port open on the Zoom, I would recommend the Azden SGM – 1X.

Any questions or comments feel free to comment on this post.

8 Comments

  1. jim bruno
    July 9, 2010

    appreciate your posts, rob. are you plugging into your zoom or camera? maybe a picture of what your rigged up set up looks like would be helpful. keep your blogs coming. have appreciated. –jim

    Reply
    • robruscher
      July 9, 2010

      Thanks Jim! Yeah I should have been more clear. I had the mic plugged into the Zoom only. I synced the audio and video in FCP. I will try to get a pic of the set up. The camera was on a tripod, the Zoom was next to it on a mic stand, and the Azden was on the camera. Hope this helps!

      Reply
      • jim bruno
        July 9, 2010

        thanks, rob. it would have helped if i had played your youtube (just did, and you answered my question there… thanks!). are you synching with pluraleyes? have been doing some research and small test projects with CS5 (going from 8bit to 10bit) but am still unsure as to whether there any benefits to doing that prior to import to premierepro. think i recall zacuto shootout finale suggesting the transcode to prores 422 (obviously right for FCP-based workflow) but not sure which codec to move to/work in with a CS5, Mac-only workflow. have you come across anything on this? will let you know what i find–may start blogging on what i’m learning along the way. keep e’m coming. –jb

        Reply
  2. robruscher
    July 9, 2010

    No I just synced manually. I transcode everything to Prores 422 (LQ on this one). Sorry but I don’t use premiere so I can’t help you there. I’ve heard people just edit straight H.264

    Reply
  3. Dave Piatek
    July 10, 2010

    With any high-quality mic, environmental noise will inevitably come into play. Though the high-pass filter may work in a pinch, you should check out this software:

    http://izotope.com/products/audio/rx/

    It is the best and easiest to use audio restoration product I’ve ever used and would be perfect for location shoots where you can’t always control ambient noise. Check out the demo. You’ll be amazed at what it can do.

    Reply
    • robruscher
      July 10, 2010

      Thanks Dave. Haha this is why I come to you with audio concerns!

      Reply
  4. roulette cheat
    July 18, 2010

    Great idea, but will this work over the long run?

    Reply

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