Wind protection for a CMC5/641

[Omar Milano]

Hello everyone,

I posted this in Moving Microphones but no one answered.

I noticed that quite a few of you who have visited the site picked the Schoeps CMC641 as your mic of choice. I bought one about 6 months ago and I love everything about it, except that I have to be very careful moving it around since it is very sensitive to wind noise.

I have the B5 popscreen that came with it, but it doesn't seem to help much during a fast paced situation. I spoke to Jeff about it and he mentioned that Don has worked on this issue, who apparently designed his own rig/mod. (Cue Mr. Coufal, please!)

I'm just curious what have you pros been using (other than pro boom ops!) to prevent/minimize CMC641 wind noise from mic movement while on a pole?

Thanks and kind regards,

OM

[jason porter]

I have heard this before, but I have never had any problems with wind (just a foam teardrop)  I would think a Rycote slip on would do the trick!

[Ian Thomson]

I use a B5D for interiors, much better than the "solid" foam screen.

it's a plastic cage covered in light foam - tear-drop shape.

great for interiors, can handle all but the most aggressive cueing (which can be worked around by the boom op)

for Exteriors - the schoeps goes into a rycote zepplin, then a windjammer (for the rough stuff)

Ian

http://www.schoeps.de/E-2004/windscreens-foam-hollow.html

[John Blankenship]

With a Schoeps rig, I have two different windscreens I use the majority of the time.  For most indoor use I have a foam one made up of two different density foam windscreens, one inside the other.  In a direct comparison, this seemed to affect the sound (both highs and lows) less than the Schoeps ones do.

For limited outdoor use (otherwise, I'd use a full Rycote Windscreen rig) I have a modified Rycote Softie.  I removed the large rubber thingie that is at the base -- since it can affect the directional characteristics and also adds weight -- and sewed the windscreen into a nice, round furry ball that slips over the mic.

John B.

[Omar Milano]

John, that's very intuitive. I'm not sure I can justify "killing" a softie for the price at the moment, but I certainly will keep it in mind. The dual foam cover seems more appropriate for my current budget.

I wish I could afford a B5D, Ian. I honestly can not spend that kind of cash at the moment. (It's the economic turmoil and I am sticking with it! Ha)

I think I will give the Rycote Mini Windjammer a try. Thanks guys!

OM

[old school]

The Schoeps doesn't lend itself to being whipped around. Ken has experienced tips for handling this great sounding mic. We seldom use anything other than the teardrop on interiors, but Marydixie is very experienced with it and I imagine you will become so as well. It takes time. Cue 1st then swing the mic is another tip for others who may not have much time with the mic.

CrewC

[Omar Milano]

Not to mention that adding "unsightly decor" to a Schoeps is just simply barbaric! Ha ha...

[leeascher]

I use a Rycote Softie (intended for a MKH60: 21/22 mm opening).  It fits the Schoeps perfectly IF you have the Cut-1 screwed on.

[Alan H. Chang]

I've been boom swinging my 641's for awhile now and will attest to the great fact that good boom technique plays a major role in getting the best results.  I use the B5 filter that came with it, however, that might not make some mixers happy.  One technique I use is to NOT swing but to re-angle the mic according to the subjects that are talking.

For example, you have two subjects talking face to face at a mere 5 feet distance between each other.  First subject speaks with a CU shot so you happen to ride along the top frameline.  Then, the second subject follows through and you need to get the lines because there's a MCU of this character.  What I usually do is point the mic toward the first subject, then re-angle the mic at the same position to face toward the second character and begin moving the mic closer to the second subject.  Since the MK41's are directional enough to pick up this distance, I find it the best way to work heavy-dialog scenes with maybe 2-3 talking heads. 

You also need to understand how your body moves in terms of stretching and bending.  Pretend that you are a spring or a sponge.  Be soft and flexible, yet smooth and quick.

[John Blankenship]

...You also need to understand how your body moves in terms of stretching and bending.  Pretend that you are a spring or a sponge.  Be soft and flexible, yet smooth and quick.

Careful, Alan, It's talk like that that got me kicked out of the PTA.

JB

[Alan H. Chang]

Careful, Alan, It's talk like that that got me kicked out of the PTA.

JB

Really?  I should have just left it as is after my given example.  In my mind, that's how I roll.  Most often I keep my mouth shut except for an open forum.

[taylormadeaudio]

The great thing about the Schoeps CMC's is their lack of off-axis coloration -- they're really forgiving in that respect... I've used the "Cue, then move" method to which Crew and Alan refer with great results... that said, in those moments when you don't have a second Boom Op, the dialog is really tight, and you feel it's absolutely necessary to cue rapidly enough to create wind noise (ie: 2-cam set-up like Alan described)... just do it -- as long as it's not over dialog, it can be removed (get good room tone though.)  It can be distracting in dailies though, so I wouldn't let it become a habit : )

--tt

[Kevin Sorensen]

I think if you are swinging your fishpole to fast, you don't know your cues well enough. For scripted dialog anyway.

I used to begin leaving (swinging) from one actor to another at the middle point of their last word or at the last syllable of a last

word of their "speech" . They are sometimes a little bit louder at the end , so as to accentuate a point. Making it safer to leave early.

and arrive on time for the next line.

It also helps to know the dialog really good, because actors will sometimes juxtapose or invert the last few words of their line and it will still make sense but your cue word will be useless.

Another thing I would do is, with dialog between to people, is hold my focus in the middle of them and hold them in view with

my peripheral vision. You can see both at the same time, and use their body language to help you out.

KKS

[Philip Perkins]

There is a certain technique to moving the Schoeps MK41 as you cue from speaker to speaker.  The first thing is to learn to use the off-axis response of the mic and not be "rabbitty" about fast moves.  The 2nd is to learn how to "shadow" the capsule slightly as you move, ie try not to move the mic sideways with the capsule forward.  3rd, in some situations it is worth the change in response to go with the fatter "ball" style Schoeps windscreen, especially if you are having to play the shot a bit loose.  I agree with Crew that any windscreen beyond the little teardrop causes an audible change in the mic and its pattern, so it is good to at least try the scene with the small one first.  For docs, I pretty much use the softie all the time, since there may well be some fast moves, I will for sure be playing loose some of the time and might also have to follow a subject from indoors to outside w/o time to switch windscreens.  In recent years I've gone to using my Schoeps mics with NO windscreen when doing most sorts of indoor music recording...don't like the change to the sound...

Philip Perkins