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Found 2 results

  1. I have used many variations of shock mounts on stands and poles - studio and field but am struggling with a new application My new problem - recording ambient sounds destined for applications with an LFE channel - often adding an additional omni capsule to maximize the LF capture in addition to directional mics. In most cases I'm actually using a small cluster of mics but am noticing that with the low frequency running down to the limits of modern mics, 8-10 Hz, I'm experiencing new issues I didn't ever notice with a HP or mic roll-off around 30 Hz My understanding is that the Lyre mounts were designed to a low frequency effectivness of 20 Hz (which they seem to do very well) but I'm wondering if there is any mount, mount combination or design specific to covering down to 10 Hz? I know that this is a complex mechanical challenge - making compliance and damping really challenging to balance. I'm also feeling that in some cases, individual mounts per mic won't image as well as mounting the array rigidly together and then on an isolation mount (making using the Lyre mounts more difficult - but still the most effective tool I've found, so I'm combining them to hold the array) Again, this wan't an issue until trying to capture wave crashes, waterfalls, avalanches, thunder - big physical events with really low frequency content and even the slightest motion or vibration in the stand or pole results in clipping. Any suggestions or ideas?
  2. What is your goto shock mount or suspension for your boom. Researching some new options since they don't make the mount I have used for years anymore and in need of a new one. I typically use Schoeps CMC641 and or the 5 for most shoots.
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