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A really useful overview: thanks. For quite a few years now I've been using the Zoom H1 as a simple digital replacement for a cassette deck, mostly recording LP's or radio broadcasts. I initially had the same problem with input sensitivity as you, but I fitted a 25db attenuator I found on eBay, and the results are terrific. Cheers 😊
rode video mic pro plus has been a disappointment on top of my camera and gopro…..Picked this up on ebay and it seems to be night and day in quality. although not alot of reviews on the internet regarding this model.
Just got one of these that came with a 5 pin to dual 3 pin XLR cable. Works well with my iPhone 15 and MOTU M4 for mobile recording. It's a total sleeper mic. I've been using for all kinds of stuff.
How does anyone in this thread still consider the R26? I have owned one for about 10 years and like it, curious how other people rate it and what your experiences are!
Great advice. I've been looking for external battery solutions for a Zoom F8Pro and this looks like a perfect way to go. Do you have a link for a suitable Hirose cable? Thanks, this has been a great help.
Thanks. It's been so long since I bought the cable, I have forgotten, sorry. Just google for "Hirose to Barrel Connector cable" and see if you can find one at a reasonable price!
I like using the line in connected to a line out from the mixing board. This gives me a great mix between what is heard out front in the room as well as whats coming from the main mix. The result is a thicker Stereo mix. After recording the band as a wav. file, I use the editing tools in the menu to Divide the songs into tracks. Then use the Normalizer to smooth out any high peaks. The H2N has so many useful features in the menu !!
How true! Unfortunately, we are now in the era of working with whatever old tapes we are given to recover. Also, although Maxell made great tape, they never made any other tape gauge wider than 1/4", to my knowledge, so a huge percentage of the 1/2" and wider tapes I encounter are Ampex. (Google translate...) Quant'è vero! Sfortunatamente, ora siamo nell'era in cui lavoriamo con qualunque vecchio nastro ci venga dato da recuperare. Inoltre, anche se Maxell ha realizzato ottimi nastri, non ha mai realizzato nessun altro nastro con spessore superiore a 1/4", per quanto ne so, quindi un'enorme percentuale dei nastri da 1/2" e più larghi che incontro sono Ampex.
Thank you so much for this video. I've worked a lot with the BSS DI boxes, and have had one or two fail on me (but that is to be expected when working with Hire equipment that goes out all the time), so even if the companents are more expensive doesn't necessarily mean they will last. I will probably get myself a bunch of the Millenium DI's (Both the 33 and 66), as if they happen to fail or break, I can easily replace it. When I was doing a sound system upgrade at a church that had little to no budget, I purchased about 7 or 8 of the Millenium DI-E passive DI's, as they were only £8 at the time, and the church were sending so many unbalanced signals through the system that it made my head spin (so many unbalanced TS to Male XLR leads going straight into the stage box)
You're welcome - it was an interesting exercise. I guess no matter how robust things are designed to be, someone will find a way to break it - especially with hired equipment! Probably worth getting one of each first, just to see if they work for you before committing to a whole load of them!
I have not used the H2n as a stand-alone recorder for interviews where high quality audio is required, as leaving a comfortable distance between the interviewer and interviewee can capture a lot of unwanted room reflections. If I really needed to use it for a video interview where there was time to prepare, I would put a tie-clip/lavalier mic (you can get reasonable sounding ones in the $25 bracket if you shop around) on each person and use the H2n's mic socket with a home-made 2-way adaptor. I have done this with other small recorders. If it was an audio interview round a table, and I didn't have lavaliers, I might use the 4-channel mode to capture M-S and X-Y pairs separately, with the XY pointing at one person and the MS at the other; then afterwards in my DAW, use the M channel only for one person, and use the X-Y summed to mono, or select the most direct-sounding X or Y channel, for the other, to give each speaker a relatively isolated mono channel, and then balance as required from there, to stereo or mono. The "2-channel surround" setting is effectively two hemispherical omnis, which although good for binaural effects, would again pick up too much ambience for interviews IMO. For interviews, I generally use lavaliers, separate overhead mics, or shotgun mics on short floor-stands, as placing a recorder in the sight-line between two people (for the most direct sound) often intimidates the interviewee, and still picks up a lot of room echoes. The recent advent of cheap (well, just about affordable!) 2-channel radio mics has changed the game completely for me. I use my DJI mic (with external lavaliers or their internal capsules) for interviews, and have been very pleased with the results; each mic records internally, independently, so a separate recorder isn't always required. HTH!
I use it for concert recording. It is quite good. We have an opera contest in our town which I film and record to produce a video. This is the sole micro for the recording and it does a very good job. Could not be happier.
The thread is moulded directly into the body of the recorder - the thin battery cover has a cut-out so that it misses the threaded hole. I would not think any spares would be available, since the manufacturers probably consider it to be a throw-away device if it fails - sad but that's the way of the world now ;-)
@@reqordist Thanks for answer. There are actually spare parts available but i did not knew if the thread screw was apart or not. I can just replace the body now.
@@reqordist I'm positive it is possible to drill out the threaded hole and replace it with a metal bushing or 3/8 Female to 5/8 Male Thread Adapter (for microphone) using a bit of epoxy to secure it in place. I'm going for it.
I just searched on ebay and found "PHOTOLUX P3/3-ES 240v 75w E27 PF603E Photocrescenta Enlarger Bulb Lamp P3 3 ES", which is probably the sort of thing for this enlarger.
I LOVE THIS! Actually just searched for a video or pictures like this, the other day. I was curious how the mics are placed and how they look. Do they ‘look’ of high quality to you? Are electret mics almost as good as condenors? Thanks for the video!
Glad I could help! Electret mic capsules do not need a (usually quite high) external polarising voltage, since a permanent polarising charge is 'trapped' in their electret diaphragm or backplate during manufacture (see Wikipedia!) So they tend to be used in cheaper mics, and in small portable recorders like this Zoom one. Electret capsules commonly have limited dynamic range and higher self-noise than externally-polarised ('pure condenser') capsules, due to their low-voltage electronics and often very small diaphragms, but some of the best ones can be quite good, and rival 'pure condenser' mics. Note that they all operate on the same basic capacitor principle. Note also that 'condenser' is just the original name for 'capacitor'; as that was the term in everyday use when the first mics using that principle were invented, and it has stuck! All of them tend to have extended frequency response compared to moving coil capsules. The capsules in the H2n are rather larger than ones I have seen in other equipment where sound quality is less critical (PCs etc.), and their noise floor seems quite low in practice.
WOW! Thank you so much! This was very helpful! Cause, although I love having so many options in one recording device (xy, ms, surround etc.), I kinda have a buyer remorse 🙈😅, being: what if I waited and probably invest more in the H6 + separate capsules (omni, shotgun etc.). Since it has - from what I’ve read, condenser mics. Any thought on this, please? If I may still bother you one last time :)
We all have buyer remorse from time to time. In this particular case, you have to decide what you really want to do with a field recorder. If you just want something to put in front of, or in the middle of, a sound source, leave it and pick it up again later, this is a very portable and discreet solution. If you want to use multiple mics in radically different positions, and to be fiddling with controls during the recording, this is probably not for you. But be aware that using a separate recorder and mics involves (a) a lot more cost and (b) a lot more junk in the recording area (stands, cables, headphones etc.), which can not only be a trip hazard, but may also be unsightly and visually distracting in front of audiences - something many recordists can overlook. Getting into recording will inevitably involve you in making multiple less-than-perfect purchase decisions, but that's life, and we only really learn from our mistakes. And in the grand scheme of things, the H2n is a pretty low-cost mistake to make. On the brighter side, after some initial buyer's remorse, there can often be a golden moment when you realise what you've bought does actually have value, when used with forethought. Good luck on your journey into location audio recording!
I THANK YOU SOOOOOOO MUCH! I was just thinking of the H2N today and that it might be good enough for me, for now. I was 90% there to overcome the buyers remorse… When reading this, now I am 200% that it was THE BEST DECISION I made, in buying a portable recorder! I want to be super flexible, just put the recorder in a place, at events, travel as compact as possible (no cables, no extra mic capsules), and be happy about it. The H2N can capture some really good audio. Especially after getting to know the where the pre-amp noise starts to kick in and you lower the input gain just below it. Bought a furry dead cat and… I have decided to make it mine and keep it. THANK YOU SOOOOO MUCH! Love the way you took your time to write something so compelling and helpful! One love!
I would have cleaned and digitized the tape after the first baking. REVOX tapes were made by AMPEX or Maxell. You can only hear what's on the REVOX coils by the squeaking.
i own 3 H2N and 2 Q2N and every one of them has a failed power jack..ZOOM KNOWS OF THIS DEFECT.. They say buy a new one.. Has anyone managed to replace the pwoer input jack .. I can still use battery's in the H1N but the Q2N lasts about 10 minutes on batteries.. Has anyone changed that power jack on a Q2N?
Quickly searching the web for "Q2n charging port repair" immediately threw up this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-UG3wc2eYvXI.html so maybe you missed it. The chap soldered the USB cable directly to the circuit board after failing to get the socket to work. A good work-around.
I assume you mean the water from humidity in the air. In my experience, after baking, the tapes are playable for a week or two. Tapes I had baked once and left for a few months needed baking again, which did work. I would recommend baking and then doing the highest possible quality digital transfer you can, so you don't need to play the tape again. I would not use baking as a strategy for doing new recording work on old sticky tape stock: if you do want to do new tape recording, I would advise buying new, good tape from the couple of manufacturers that still exist (but it's expensive!)
@@reqordist Hi my friend no actually what happened is that there were outside in garage but i hadn't realised part of the roof had caved in and the box I had my tapes in got filled with water
That is a different matter. 'Good' tape should not absorb water. If the make of tape is not one of those that suffer from sticky shed problem, they should be playable after allowing the spools to dry out very slowly. If there is a build-up of mould from the water immersion, it may still be possible to wash it, but there's no guarantee. Just make sure that the tape is dry before running it through your tape recorder. Good luck!
Hey nice video! I have the same lathe with a different name which it is jetco jml-3s. They are exact same lathes. However, I have a problem on my lathe nowadays. I made lathe work a couple days ago and turn off the lathe and then turn it on again about half hour later but the fuse that on the front panel which is above the green light pops out. I replaced the fuse with same one but pops out again. I tried 5-6 times but each time it just blew. So I've checked the control board, servo motor, screen boards etc. I didnt see any damage on them, and even the fuse on the control board was working. So, do you have any idea what's going on my lathe? Thank you.
Hi - I have no detailed circuit diagram / schematic for the lathe control system, so I can't offer any useful suggestions. However, previous experience with other equipment tells me that electronic faults are not always evident in a simple visual inspection: components (ICs, capacitors etc.) can fail internally without any external sign. Sounds like a call to the supplier is in order, but I fear they may recommend replacing the entire control board - $$$ :-(
I’ve just dusted off my trusty ECM 957 to work with a couple of Zoom recorders that I’ve recently bought. While it’s a bit big to go in a shoulder bag with the H1n for everyday use. it will be an ideal pairing for the H5 kit which I am putting together. A quick test shows that I have to increase the gain a bit when condenser mics are plugged in. Is this normal?
Hi Andrew - I can confirm that my own ECM957's output level is lower than my other low-voltage electret mics (mainly tie-clip lavs.) I do wonder whether the capsules lose charge - and hence efficiency - over the years (decades!)
Thank you for the helpful review and measurements. Did you keep the display enabled (if so, full brightness or dimmed?) on the F8n, since some people are pointing out that a significant chunk in the power draw of F8n is due to the power hungry LCD?
You're welcome! I normally use power-saving with LEDs and LCD at between 5 and 10 (if in a low-light environment - higher if brighter.) While it may use extra power, I would never leave a recorder recording with no visible display, unless I were going to walk away and leave it completely (which I almost never do.) Even if the recorder is on a stage. I like to be able to see that it's still working from a distance, even if I can't see the finer details.
Hi Steve - I was wary about how the SC4 would perform straight out of the crate. In practice, for my everyday use of making simple mic stand adaptors and the like (not particularly tight-tolerance stuff), I have found it quite usable as-is. Mindful of the significant time and effort I had expended getting the tailstock aligned on my previous, smaller, lathe (CL300M), I've taken the 'ain't-broke-don't-fix-it' approach in the case of the SC4, and have opted to defer any finer setting-up till I have a more dimensionally demanding project... Breaking tailstock bases sounds like really bad news :-(
@@reqordist Yes, I've made a lot of parts that were not to tight tolerances but was frustrated on smaller/longer stuff where I was constantly turning tapers. I have (yet) another tailstock base on order from Axminster but they have said it takes 6 months to get spare parts for their lathes. I bought the last one from Arc and had a friend mill it down to suit, but the adjustment lugs inside are so brittle that they snap so easily when turning the grub screws.
My H2n was dead after unused for couple month, and i decide to tear it down. And yes , just like i predicted, the inside of the PCB is full of corrosion. And then i try to clean it up with contact cleaner. And i think i pour the contact cleaner too much. 😅😅, and one of the resistor is fell. I cant re-soldered the resistor because its too tiny (just put it on the board using a tape). The amazing things is, my Zoom H2N back to alive, but all the function is fail. 😅😅😅 Any recommendation for me ?? Is it possible to make a custom pre-amp for the microphone ?
You would need specialist soldering skills to repair the H2n - the sort of thing you see in iPhone repair videos. Also, as there is no service manual for the H2n available on the Internet, as far as I can tell, you would be working blind. Corrosion can go very deep into circuit boards, so you may not even see the problem. Amazingly, these recorders are still on sale new (£129 on Amazon in the UK), so if this model is really important to you, buying a new one may be the cheaper option! As far as the mic preamps are concerned, there's really no point IMO - if you want a higher quality system, go for separate high-quality mics and a more expensive recorder.
Thank You! I own this microphone. Bought it new to record vocalists having been told it was a gem for field recordings. When paired with a Zoom H2 there was excessive static noise. The recordings were better with the built-ins of the zoom, so this, regretfully, ended up in a drawer. You encourage me to dust it off :)
It sounds like you may have had a problem with the H2's 'Plug-in Power' supply, which puts a very small DC current (a couple of milliamps?) through the 957's output transformer (see 3m11s). Although this will not damage the microphone, any intermittent contact on the 3.5mm jack plug (e.g. when you are moving the mic around) will make a rustling noise on the mic input. To get over this. I made a cable with one 1uF non-electrolytic capacitor in series with each signal line, to break the DC. The H2/H2n's internal mics are pretty good, anyway... Good luck with trying it again!
@@reqordist Again, much appreciated. I've watched the video once again. I should have listened better :) As I have Your ear and expertise at hand I'll fill in with a maybe stupid question. There are 3.6V batteries with the same form factor as a AA-cell. I bought one but never dared trying it in the microphone, partly because I at the time couldn't find the schematic. My thought was that it would give the internal amplifier more "rail to rail" range. But that might not be a limiting factor?
Interesting - the schematic diagram is out there because I managed to find it - look for "Sony ECM-MS957 service manual". Firstly, the datasheet for the 2SK1578 FETs (one per mic capsule in the MS957) shows an example circuit working off a 5V rail, so that would sound promising. BUT: There is a 4V rated 10uF electrolytic capacitor directly across the mic's battery rails, and a nominal 3.7V LiIon battery will be about 4.2V fully charged. Also, there is a 4.7V Zener diode directly across the battery, presumably to protect against reverse connection (by shorting out the battery!) and forward battery voltages over 4.7V (again a short.) So it doesn't sound like a very a good idea, unless you're prepared to change some components and/or take a risk!
@@reqordist Soon I'll have to pay for Your service :) This was a long time ago, 15 years at least. I'm totally inexperienced with FETs. Have done some bipolar and op analog circuitry back in the days. What I had found was a lithium-thionyl chloride battery. From Wilipedia: "...they may explode if shorted." :D Obviously a bad choice considering the zener. When researching this answer I found there are 3V batteries that looks to be possible to fit. Maybe worth a try. If one starts to modify the circuit, wouldn't the sensible path be to make it phantom sourced instead? (No answer required, just a thought) Anyway, I was positively surprised the outputs are actually balanced.
Hi , thank you for your time and video ,, greats ! I looked for lots of solutions to power zoom f8n and one of them is boost 5vto 12 v but it's 1 amp and I think it's low because the minimum is 2 amp, my question is how many amp delivered smallrig 3018 in 12v output ? Thanks you so much ✔️😊
Hi, I did not measure the 12V current directly, but: The NP-F battery was supplying 1.2A at maximum load (see 4m12s). So if the battery voltage is approx. 7.4V, and the converter's efficiency were 100%, the 12V output would be supplying (1.2*7.4/12)A = 0.74A to the F8n. As conversion efficiency will inevitably be less than100%, the 12V current drawn by the f8n must be less than that. So that would indicate that a 12V 1A supply should be enough to power the f8n. I know that the supplied AC adaptor is rated at a nominal 12V 2A, but that is probably to ensure that the adaptor never struggles to power the recorder, and stays cool in operation.
@@reqordist thank you, small rig with your f8n work probably with f8n do to lol ,in boost power 5v to 12v 1amp I take of the DC 5.5mm and remplace it with hirose 4 pin that way is better than DC 5.5mm ? For my Sound devices 442 work but i don t try it in F8N yet I think is not safe ? What do you think? 😁
Many thanks for this video, very helpful. I just purchased one of these mics second hand. I’ve been looking for the perfect MS setup to record guitar. Previously been using a Shure MV88+ which sounds great… but a pain having to plug your phone in to use it. The 957 sounds slightly better on noise performance but is more coloured with the transformer output and hardware decoding. The selectable mic positions are quite different tonally up close with the side address giving more mid response. With the end address position the side capsule is in front of the mid capsule and sounds less boxy, with a little eq I could get quite a nice guitar sound. The transformer output seems to add sheen that can sound softly saturated and punchy.
Thanks for your feedback - I had not used the mic for specific instruments so it's very interesting to hear about the different tonality in the width and directions. Confusingly, the capsule symbols in the schematic diagram do not represent their physical placement. Looking at the mic, the side capsule is actually at the end of the mic (you can find the full Service Manual online, which shows this without having to dismantle the mic). So in end-fire, the cardioid mid capsule has to look 'through' the side capsule, which I would have thought would have reduced its on-axis high-frequency content. But that might help control harshness from close miking a guitar, and give a warmer sound. I must admit to being more impressed by the mic now than I was when I bought it 20 years ago. Cheers!
Indeed the performance of the mic is good. As an alternative I’ve just tried a Superlux 502 mkii from Thomann. Noise performance is slightly better with the 502 vs the 957 but I genuinely impressed with the way the 957 holds up, especially considering it’s age. Again that transformer output on the 957 is putting a sheen on the higher frequencies compared to the more clinical sound of the 502…but sometimes that’s a welcome addition, depending on the style of music. And just for the record I can confirm that the short cable that came with the 502 is fully compatible with the 957, also the same wiring convention as the longer extension Thomann sell (5m “Superlux Stereo-Signal-Cable”).
Nice lathe and interesting mods, I have always liked the Sieg SC4 lathe ever since they were first introduced and offered by a few other dealers in the UK before Arceurotrade started selling them. I have a few larger lathes from China and the UK which I have owned for many years now, but I am thinking of down sizing a little and the SC4 from Arceurotrade is possibly at the top of my list. One other thing to check, if you haven't already, is the pair of steel gears inside the headstock that drive the spindle. These are sometimes assembled at the factory with rather dirty and grimy looking grease, often also contaminated with metal swarf. So a good washout and rinse then fresh lube will make them last a lot longer, and sometimes quieten them down a little. Anyway, I hope you are happy with it and it serves you well for many years.
Thanks for that - I will have a go at the headstock gears in the near future, and hopefully make some improvement. It's not too noisy, but it is more so than I had initially expected. I'm really happy with the lathe, and it's a good match for my SX2.7 mill, also from Arc.
Nice video. I’m confused about the Mid-Side arrangement - does the audio recorded with it require decoding in DAW when recorded into anything other than a Sony recorder, or is it done internally in the mic itself? Thanks!
Thanks! The capsules' mid-side signals are decoded within the mic, so it appears as a regular x-y stereo signal to any attached recorder. This approach is a convenient way to provide a couple of useful options: 1. It allows the mic to be turned from end-fire to side-fire by swinging the Mid (cardioid) capsule round mechanically by 90 degrees, via the buttons on the sides of the wind basket. 2. By allowing for the application of a lesser or greater proportion of the side capsule's signal to the decoding arrangement (via the three-way power switch), the decoded x-y stereo output can be selected to have either a narrow (90 deg) or wide (120 deg) capture angle. A neat bit of design! HTH!
@@reqordist Thank you for your reply. I have a similar mic, MS907. I assume the principle is the same? So can one access the Mid-Side signals before they are decoded and decode in DAW to take full advantage of it? Sorry, understanding of the principles behind the MS stay with me for maybe one day after I read an article about it, but then it flies over my head, lol.
Hi - the 907 is a cosmetically-updated successor to the MS909 that I mention in my video. Like that mic, the 907 has a fixed endfire pattern. Both of these mics achieve MS to XY decoding using a transistor circuit, versus the 957's use of transformers. Short of getting busy with a soldering iron and modifying the mic's circuit board irreparably, you cannot simply access the mid and side capsules directly. But consider that if the signal has come from an MS capsule arrangement, you can put it back through an XY to MS effect plugin (I use the free Voxengo MSED VST plugin with Reaper), do what you want to do, and then convert it back.
@@reqordist the new version is made with a plastic screw. so it's worst ! but nothing in stock in UE. For sure, it won't last more than 3 years, maybe 5 . I will come back to tell what it would happen.
Amazing video, thanks! I have an additional question about the SmallRig 3018 plate and the NPF Batteries that work with it. Does its 12V output work as a booster? I currently have a ZOOM F4 and got an ANSSO battery plate for my NPF970 batteries which only output 7.2V which is not enough to power the recorder. I'm thinking of getting the smallrig plate but wonder if it would work.
What cable are you using with the F6 @ 4:16 ? Was it premade by Sommer or did you make your own? I'll be using the ECM-MS957 with a F3 and currently shopping for cables. Cheers!
Hi - I just made up my own. Here in the UK one of my favourite suppliers - CPC - does a range of cheap but good quality XLR connectors under the brand name Pro-Signal. The Y-cable just uses some thin 2-core screened cable I had lying around. I have made them up in both genders for use with regular mic pairs. For recording choirs etc., I have made up a range of long (10m, 15m, 25m) cables using Sommer Cable Quantum Highflex Multipair 2 (dual balanced cable) from Thomann (Germany), terminated in 5-pin XLRs in the mic's pinout. That cable is quite chunky (only just fits in the XLR strain relief), but its excellent combination of heavy weight and limpness means that it lies flat on the ground without curling or twisting. Yes you can buy pre-made cables, but for non-standard configurations like this, they're often ridiculously expensive... Good luck with your own setup!
@@reqordist I'm sorry if I may have missed something, but the pinout on this mic is different than say a Rode NT4? I got this mic with the included 5-pin to mini-jack cord but have bought the rode cable to use with it. Will that not work for me?
@@UCTrumpet I'm not sure whether you are telling me that the pinout of the NT4 or any other 5-pin XLR-equipped stereo mic is different from the MS-957, or asking me. I'll assume the latter... I have failed to find a pinout diagram for the NT4 on the web (thanks, Rode), and I do not own or have access to an NT4, so I can't advise you about that model. FWIW, though, according to their respective manuals, the Superlux S502, Audio Technica AT8022 and Neumann USM69i (!) stereo mics all have the same 5-pin pinout as the MS-957, so it seems reasonable to assume that it's a pretty common wiring arrangement. Fortunately, since you have already bought the Rode splitter cable, it's a trivial exercise to establish a connection table for it by using a multimeter in continuity mode to trace from the pins of its male XLR connectors to the pins of its female connector. You know that the 3-pin XLRs are by convention 1=Ground, 2=Hot and 3=Cold. The ground pin (1) of each 3-pin XLR should be common. If the resultant connection table corresponds to the table in my video, you're good to go. If not, you could just grab a soldering iron and rewire the 5-pin plug on the Rode cable to suit. I think it unlikely that Rode would deviate from what looks like a de facto industry standard, but you never know. If this approach sounds too complicated, I'm sure you will have a techy friend who can help out! Good luck!
@@reqordist thanks for the reply! I’m pretty sure this means I’m good to go. The rode cable was just the most economical! If it’s not the same I’ll dive deeper, but it’s been a while since I’ve soldered!
You should use a Hawk-wood: DV-BM1 Can use dual NPF batteries, has a on off switch, power level indicator and you can hotswap. Outputs to two Hirose connectors and a power con. Also has screw fittings so u can mount the batteries if needed without all the DIY mounts
I recently picked up this mic, which I've been wanted 20 some years ago when I was doing live concert recordings on DAT, but just didn't have the funds for it. Now that I have one I'm super excited. You posted this video a day before and I noticed it a day after I ordered a Shure VP88 cable to try out the XLR 3 pin connections. I'd like to report that the VP88 cable does work. Tried it with a Yamaha MG-10XU, Tascam DR-100 MKIII, and Azden FMX-DSLR and it works great. Thanks for confirming the pinout before the cable arrived!
