Winter where I live usually means layers. This year has not been super cold, but it has been wet, so different layers, but layers none the less.

This also applies to other areas of my life also, such as photo, video and sound recording.

Ok, with the pre-amble out of the way, I now have this monster to deal with.

What does it mean?

I have layers of problem solving capability.

Example scenario 1, a school band recording.

1. Sennheisser MKE-400 shotgun for decent directional sound from a little way off.

2. H1n (X/Y) for proper stereo imaging with backup, but a little thin.

3. F1 and SSH-6 (mid-side). More reach, more depth of sound and more ambient control (more or less by room).

4. H5 and SSH-6 + 2 XLR mics (040 Match, MTP 440 or other). As above but with overhead, specialist and width options*.

5. H5 and 4 XLR mics in a variety of configurations.

6. H5 and direct instrument or mixing board feed with 0-3 XLR mics.

Scenario 2, an instrumental soloist;

1. Sennheisser MKE-400 shotgun for decent directional sound from a little way off.

2. Zoom H1n (X/Y) for proper stereo imaging with backup, but again, a thin.

3. Zoom F1 with X/Y capsule for slightly improved quality.

4. F1 and SSH-6 (mid-side). More reach, more depth of sound and more ambience (stereo effect adds a lot of body).

5. F1/H5 and 2-4 mics for stereo instrument coverage. This allows multiple locations on string and acoustic, dual cab, 4 mic drum set, instrument and vocals etc.

Scenario 3, the school orchestra;

1. Sennheisser MKE-400 shotgun for decent directional sound from a little way off.

2. Zoom H1n (X/Y) for proper stereo imaging and backup, but a little thin.

3. Zoom F1 with SSH-6 capsule, better room sound and more body and the ambient control may go either way by room.

4. H5 and 2 XLR mics in ORTF config up high on a stand with a capsule for backup.

5. Zoom H5 and SSH-6 with 2 mics for edge cover.

6. H5 and 4 mics for centre and edge or specialist cover**.

Scenario 4, school debating panel;

1. Sennheisser MKE-400 shotgun for decent directional sound from a little way off.

2. Zoom H1n (X/Y) for proper stereo imaging and backup, but as above, a little thin.

3. Zoom F1 with X/Y capsule, better room sound and more body.

4. F1 with SSH-6, mid side adding width to cover group (how I do the podcast panel of 4).

5. Zoom H5 with 1-4 XLR mics depending on format and space.

6. H5 with external input from mixer and 0-3 XLR mics and/or capsule for backup.

Layers 1 & 2 are day bag carried, the rest need some pre-warning and set up.

Planning to succeed, I feel ready for nearly anything. The reality is the school has strong drama, music, media and visual arts departments, so my meagre efforts are likely a sideline at best, but I do need to be able to step up.

The questions are (1) do I need to add any more XLR lines and (2) do I need more quality?

My wish list, depending what need arises, includes the Zoom F6 ($900au) or possibly the H8, which at the moment seems very cheap ($480au). The F6 would allow me to have 6 XLR inputs at once with 32 bit float, better pre-amps and potentially 4 more from the H5 as backup or the H8 with the EXH-6 can take all 8 mics alone, ideal for music recording etc and a logical, if expensive next step.

The AMS-44 could be ok as well ($250au). Relying on a 3.5 jack into the H5 from a 4 channel XLR unit seems reductive, but so does feeding the F6 directly into the camera, so with that in mind, either option would assume post processing and synching and more to the point prioritising sound as its own thing over vision+sound tacked on.

If I do go with off camera sound, the AMS-44 and H5 (as separate entities) would allow all 8 of my XLR mics to be used at once with the added benefit of remote locations, so fewer and shorter cables.

*Lead vocalist, guitar cab, drum overheads, lead guitar etc.

** Soloist, 040’s over strings, 440 over percussion or piano etc as needed.