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Found 8 results

  1. Hi everybody, I started a new DIY project. Since I really enjoy this forum and the wisdom shared I´d like to give something back. Here I´ll share the progress of this project with you. The situation I have a matched pair of Oktava MK-012 with cardioid capsules and use them for AB / ORTF stereo field recordings. I´d like to have good wind protection for them. Because I own a 3D printer and like to design functional parts I chose to give this approach a try before buying Rycote Baby Ball Gags or something similar. If everything works out I plan on buying just the fur from Rycote. For software I used Fusion 360 and Cura which both are free for non-commercial use. The 3D model I began with modeling the Oktava MK-012 to have a reference. This was pretty easy by just taking measurements and entering them into Fusion 360. Because the capsule´s diameter is bigger than the rest of the microphone´s body I had to come up with some technique to open up the blimp for mounting and unmounting. Rycote´s twist-to-lock mechanism is great but hard to model and close to impossible to 3D print for several reasons. Moreover that I refused to have the blimp split in the middle because of the increased amount of the mechanism´s material beeing right next to the capsule and probably affecting the sound. My solution to this problem was a screw-on mechanism with 3D printed threads in the back of the blimp. I already printed threads as small as M4 so these bigger threads shouldn´t be a problem. So there´s one small part with outer threads which stays on the microphone and there´s the blimp with an opening in the back big enough for the capsule to pass through and inner threads. Here´s the complete design in it´s momentary version: The first print Getting the 3D model to be printable was a real hassle. As some of you might know, 3D printers can print overhangs up to 45 degrees. Above that I get´s complicated because your are basically printing in mid air. It all depends on the print temperature beeing not to high and cooling down the printed material as quickly as possible. After 3 failed prints and approximately 15 hours of printing time waisted I finally I was able to get my first half of the blimp. One part of the solution was to reduce the ambient temperature around the printer. Another part of the solution was to actually print faster, to reduce the chance of the filament getting too soft before entering the print nozzle resulting in a mess. I´m printing in grey PLA from the german supplier DAS FILAMENT. The print bed is a sheet of PEI glued onto a glass plate. No heated bed. Print settings: 40mm/s, 180°C. I split up the blimp in two printable parts. This first successful one took about 5 hours to print. The look and feel is amazingly similar to my full rycote blimp. It is quite strong, can be bent with force without cracking and has very good layer adhesion. And all of this at material costs of ~50ct. Coming up next: solvent welding Now the next step will be to print the other half. Then I´ll be sovlent welding both parts together using either Dichloromethane or Methyl Ethyl Ketone. Both of them are quite toxic and often times used in paint strippers. This connection will be as stong and as flexible as the main material to ensure no weak points appear when using it in more extreme conditions. Questions, opinions and suggestions appreciated! To be continued...
  2. What are field tested opinions of the Rycote Suoer Blimp NTG. It is cheaper the the Rode Blimp which is surprising for a Rycote product, and it is considerably cheaper than any other Rycote Blimp. Seems to have everything the other Rycote blimps have such as RF shielded cable, lyre mounts, changeable pistol grip/boompole mount etc. Wondering what the catch is...
  3. 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.
  4. 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!!
  5. 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?
  6. 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?
  7. 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.
  8. 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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