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Found 6 results

  1. Hi everyone. This is my first post. Which is the best axial position for a shotgun mic in a blimp? Center the middle of the slotted part with the middle of the main body of the blimp (at least where dimensions allow it)? IIRC Rycote recommends to not place the front of the mic further than the main body of the blimp (i.e. before the end covers). Can the maybe about 1" wide annular [non perforated] part where the front end cover connects to the main body of the blimp cause audible degradation? Does it matter if tube slots are left and right OR at top and bottom (i.e. rotating by 90°)? Is it correct to assume that the front lyre doesn't have any negative influence if covering a very few slots (the rear lyre being usually clipped beyond the slotted part)? I did some searches but was unable to find a definitive answer. Also pictures from manufacturers don't illustrate any common practice. Any help would be welcome. Thanks everyone.
  2. IronFilm

    Which blimp to get?

    Would the Rode Blimp be the best Blimp to go for on a budget? Or is it worth spending a little more? (I'll be using it with a NTG2) http://www.bhphotovideo.com/c/product/1056426-REG/rode_blimp_windsheild_rycote_lyre_suspension.html Is the K-TEC better than the RODE Blimp perhaps? http://www.bhphotovideo.com/c/product/458958-REG/K_Tek_K_ZEPP_M_Zeppelin_with_Suspension.html Or the Rycote? http://www.bhphotovideo.com/c/product/1044548-REG/rycote_010321_super_shield_kit_medium.html Which to pick!! So many options!!
  3. Is anyone here using 1 mono shotgun/hyper and 1 stereo mic housed together in 1 blimp? I'm considering placing a stereo mic like the AT BP4025 underneath a CS-3e in the same blimp to capture stereo along with mono. Seems like a simpler way to do it than M/S for times when the post guys aren't comfortable with decoding M/S. I suppose this means there'll be two (three?) cables out of the blimp (3 pin XLR for CS-3e and set of 3 pin XLRs for BP4025). I'd be recording onto 3 channels, but it seems like a handy setup for docs or to get FX with the option of a little stereo ambience with it. What do you guys reckon?
  4. Lately I've been having noise issues with my 416 and my rode blimp, namely the switch-craft connector that connects to the 416. I've had to use snot tape inside and outside the mic to xlr connection and it STILL makes some noise when the pole is moved around a little to hard. HAs anybody had any problems with the Rode Blimp and a 416? It seems to me there is just a bit too much room between them when they are connected. I want to upgrade to a Rycote or a Cinela mount at some point, but for right now this is what I got. Anybody in the same boat?
  5. Here is a picture of my custom Stereo XY mic setup for use with the RODE Blimp, x2 Apex 185 Cardiods. 185 Mount is Attached to a Bendable Tripod (Via Tape) and the tripod is bent around the Blimp to line up the capsules.
  6. Hello! I've posted a few times before on questions regarding booming, and damping a set, and recently had another thought that I would like to discuss with more experienced people. I recently looked up some portable booths popularly used for song in less than ideal locations, such as the ones in the pictures, and started to think about if you couldn't make something similar for location sound. So, my question is if it wouldn't be possible to take damping material and for instance make a sort of blimp of it - or maybe just put it around an actual blimp - open at the front. This would of course increase the weight quite a lot, but it would probably still be ok for short close takes, or of course for putting on a stand. If I could I would test it myself just to find out, but I don't have the possibility at the moment. So, does anyone see an obvious flaw of something like this, other than weight? Maybe it wouldn't make much difference, or maybe interfere with how certain mics cancel out sound from the sides and rear?
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