Buying a boom, windscreen and shock mount.
- Thread starter swaneon
- Start date
GaryNattrass
Veteran
If I were buying just one mount I would go for the Rode PG2 as it will allow hand held as well as boom use, the rubber collet also holds the mic better than rubber bands. I use the PG2 and the WS6 with my AT 875r mic's.
Personally I like the Gitzo carbon fibre boom poles as they are very compact and good value for money: http://www.prokit.co.uk/index.php?v...=google&utm_medium=shopping&utm_campaign=feed
Personally I like the Gitzo carbon fibre boom poles as they are very compact and good value for money: http://www.prokit.co.uk/index.php?v...=google&utm_medium=shopping&utm_campaign=feed
drapeama
Well-known member
I second the RØDE PG2 as I own one too and I'm surprised how good it works.
As for the windscreen, I'm using the MicOver slip-over fur, that simply slides over the RØDE NTG-2 foam windscreen. Works well for the price paid at around 25$.
As for the boompole, Carbon Fibre poles will of course be a better investment as you don't want anything heavy in your hands while booming your audio. I own the 10ft RØDE Boompole and for the price paid I'm very happy with it, but I never tried anything lighter before and since. It's aluminum so a little heavier to start with. I was impressed by the short length of the boom when retracted as it can extend to 10ft as well:
It also have the ability to pass the cable inside the pole:
Good pictures 
If I was buying it as a long term investment that would be used quite often, I would not hesitate to go for quality and get a carbon fiber boom pole from k-tek, psc, or ambient (at least 12 feet long if it's for fiction), and a rycote windshield kit with lyre suspension. It's expensive, but is of great quality and will last for more than 10 years if treated well, plus the low weight will be much easier on the body (carbon poles are also nicer in winter environments as they don't get as cold). Seen on the long run as cost per year, the cost difference isn't big and you'll have good quality right from the start.
If I was a little less focused on quality and want it cheaper but still good, I would probably get an aluminum boom from k-tek or rode, and the rycote S-series windshield. If I was really concerned about strong winds where I live, I might go for the Rode zeppelin instead of the S-series.
If I was buying it as a long term investment that would be used quite often, I would not hesitate to go for quality and get a carbon fiber boom pole from k-tek, psc, or ambient (at least 12 feet long if it's for fiction), and a rycote windshield kit with lyre suspension. It's expensive, but is of great quality and will last for more than 10 years if treated well, plus the low weight will be much easier on the body (carbon poles are also nicer in winter environments as they don't get as cold). Seen on the long run as cost per year, the cost difference isn't big and you'll have good quality right from the start.
If I was a little less focused on quality and want it cheaper but still good, I would probably get an aluminum boom from k-tek or rode, and the rycote S-series windshield. If I was really concerned about strong winds where I live, I might go for the Rode zeppelin instead of the S-series.
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Allan Black
Veteran
We've run with the carbon fibre Gitzo 3560 boom for a few years, the G-Lock is fast and strong. And it extends out to 12'9". We've never used it at that length, but the first time we have no other choice it will pay for itself with one job. It's always wiped down before it's collapsed, city microgrit can score carbon fibre.
Tip: When you're booming indoors and it's appropriate, take a direct eyeline from the mic to a spot on the far wall, so you can exactly re-position the mic,
to start another take.
When Rode released their WS6 and WS7, their demo video for their dealers showing how good they are, caused a mild sensation.
After storing flat, the hairs should be combed out so they do their job in the wind.
Great hall floor there, is that linoleum or short lengths of wood.
Cheers.
Tip: When you're booming indoors and it's appropriate, take a direct eyeline from the mic to a spot on the far wall, so you can exactly re-position the mic,
to start another take.
When Rode released their WS6 and WS7, their demo video for their dealers showing how good they are, caused a mild sensation.
After storing flat, the hairs should be combed out so they do their job in the wind.
Great hall floor there, is that linoleum or short lengths of wood.
Cheers.
For boom poles, those two Avalon Aluminum poles you listed are the two most popular Aluminum K-Tek poles. If you want to get into high quality, yet lower cost graphite, then the Avalon Graphite poles from K-Tek might be a good option for you. Of course, you can really step it up and go for the Klassic graphite poles, but they are kind of expensive, but I've seen guys send in their Klassic poles that are 15 years old for general cleaning, and they've held up really well if properly taken care of. For the shock mount I'd go with a K-MT or a PSC Universal shock mount. For a windscreen there is the K-Tek medium slip on fuzzy or the Rycote Softie. We typically warranty all products for 1 year, but usually with things like shock mount parts I'll just send replacement parts at no cost. It's easier for everyone that way.
swaneon
Well-known member
much thanks!
i think i might spring for carbon fiber poles and this
http://www.amazon.com/K-Tek-Microphone-Adjustable-Shock-Mount/dp/B001BZX2LW
or should i spring for rycote?
i think i might spring for carbon fiber poles and this
http://www.amazon.com/K-Tek-Microphone-Adjustable-Shock-Mount/dp/B001BZX2LW
or should i spring for rycote?
That shock mount will work with a slip on windscreen, but if you want to get it in a zeppelin you'd need to get the K-Tek zeppelin that includes that mount (which is the small zeppelin), or if you need any of the larger zeppelins they include the KGPS, which is my personal favorite suspension for a microphone. It really depends on your budget and what you expect to shoot. I've seen and sold lots of shock mounts with just a slip on furry windscreen and that's been fine for people, especially news and sports folks. For higher wind, then a full zeppelin is appropriate. Most guys that do television and feature film work will have both at their disposal.
swaneon
Well-known member
ahh i see--i don't think I need the zeppelin but I might go with a rycote shock mount/windscreen and ktek carbon since I primarily don't film in wind and high wind situations is quite rare though I'm open haha.
make that the ws7 and carbon
how much of a necessity is the shock mount? im debating between the rycote new vs ktek used--no zeppelin
I'm thinking about upgrading to the ntg3 and getting a SD pre mix d
make that the ws7 and carbon
how much of a necessity is the shock mount? im debating between the rycote new vs ktek used--no zeppelin
I'm thinking about upgrading to the ntg3 and getting a SD pre mix d
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John Willett
Veteran
For shockmount and windscreen there is nothing better than the Rycote.
The "Lyre" suspension is patented (so is not copied) and works much better than rubber and O-ring suspensions and also does not bounce and droop.
If money is tight look at the Rycote S-series.
For poles the Rycote is very good, in the US K-tek seems good and for real pro poles go Ambient.
The "Lyre" suspension is patented (so is not copied) and works much better than rubber and O-ring suspensions and also does not bounce and droop.
If money is tight look at the Rycote S-series.
For poles the Rycote is very good, in the US K-tek seems good and for real pro poles go Ambient.
My personal favorite microphone suspension is the KGPS from K-Tek. Yes I know this sounds biased, but I've been using it long before I was affiliated with the company. The advantage is a true microphone suspension gives you is a true three dimensional suspension on the x, y, and z axis. So something like the KGPS or KMT are great choices. If not, then the PSC Universal shock mount is another great go to at a lower cost. Even the older Rycote suspensions worked great. I have found the the Lyre shock mount does not give you 3 dimensions of isolation. I've been talking with a lot of production sound guys and that has been their big complaint to me when they switch over to the KGPS. I'm not trying to sell you anything here. Get what you want. I've been using the PSC Universal Shockmount for years and have been very happy with it, and it is very low cost. I probably see more of those than anything on sets that I've been to.
swaneon
Well-known member
would you consider the http://www.amazon.com/K-Tek-Microphone-Adjustable-Shock-Mount/dp/B001BZX2LW
to be 3 dimensions?
Nope. That's the KSM shock mount. That's the first microphone shock mount that K-Tek made way back in the day when I was selling gear at Coffey Sound. I remember when Manfred brought it in to show us. The KSM is great for something like a 416 or CS3e, but honestly, I wouldn't use it with something like a Schoeps. For something that truly suspends the mic there is this:
http://ktekbooms.com/pinnipedi/wp-content/uploads/2010/10/K_GPS.jpg
or this:
http://ktekbooms.com/pinnipedi/wp-content/uploads/2010/10/K_MT044.jpg
or this:
http://professionalsound.com/specs/shock_mnts.htm
or this:
http://www.adorama.com/SEMZS80.html?gclid=CLH1hsCS_bQCFaN_QgodlUwATg
...among many others.
John Willett
Veteran
Regarding shockmounts and microphone suspensions - I think you will find this PDF article very useful:-
Keeping Microphones Quiet
The author tests all types of suspension and pictures the graphs showing the results - very useful.
Keeping Microphones Quiet
The author tests all types of suspension and pictures the graphs showing the results - very useful.
swaneon
Well-known member
thank you!
Chris Woolf
New member
3D mic suspensions
3D mic suspensions
> .... a true microphone suspension gives you is a true three dimensional suspension on the x, y, and z axis. So something like the KGPS or KMT are great choices. If not, then the PSC Universal shock mount is another great go to at a lower cost. Even the older Rycote suspensions worked great. I have found the the Lyre shock mount does not give you 3 dimensions of isolation. [Dave Fisk]>
Well that ~is~ an interesting set of comments! Where to start?
All microphone suspensions necessarily support the mic in three dimensions - otherwise the mic would fall out. What is important is how compliant the mount is on any one axis. In plain language, how much give there is in the mount to absorb shocks and vibration.
The older style Rycote methods, and most other commercially available systems, have to make do with roughly the same compliance on all three axes. If you make that high enough to work well at really low frequencies the mount becomes dangerously sloppy, and the mic crashes uncontrollably. If you make the suspension stiff enough to prevent the mic wobbling scarily, then the resonant frequency of the mount (which determines the lowest frequency it can isolate at) rises uncomfortably high. This is all schoolbook physics.
What you ~can~ do to improve things is to give different axes different compliances, and that's what the Rycote Lyre does. Axial mics are far more sensitive to acceleration on the z-axis - along the body. So you can give this axis a low tension and allow massive displacement to produce near-ideal performance in isolation terms, with a splendidly low resonant frequency. But at the same time you can make the X and Y axes quite stiff to allow the user good control over the mic. The mount won't wobble around excessively, but it will absorb enormous amounts of LF energy on the axis that matters.
Rycote even took this idea further to allow high dual-axis compliance for side-fire studio mics, but still leaving the third axis stiff to prevent the mic sagging, as it always does in old-fashioned elastic band mounts. http://www.rycote.com/products/invision_studio_kit/
The Lyre mounts have superseded basic elastic suspensions precisely because they can be measured to isolate far more effectively than rubber or band mounts. No wild claims, no sales b**lsh*t, just honest science.
Chris Woolf (who knows a thing or two about microphone suspensions)
3D mic suspensions
> .... a true microphone suspension gives you is a true three dimensional suspension on the x, y, and z axis. So something like the KGPS or KMT are great choices. If not, then the PSC Universal shock mount is another great go to at a lower cost. Even the older Rycote suspensions worked great. I have found the the Lyre shock mount does not give you 3 dimensions of isolation. [Dave Fisk]>
Well that ~is~ an interesting set of comments! Where to start?
All microphone suspensions necessarily support the mic in three dimensions - otherwise the mic would fall out. What is important is how compliant the mount is on any one axis. In plain language, how much give there is in the mount to absorb shocks and vibration.
The older style Rycote methods, and most other commercially available systems, have to make do with roughly the same compliance on all three axes. If you make that high enough to work well at really low frequencies the mount becomes dangerously sloppy, and the mic crashes uncontrollably. If you make the suspension stiff enough to prevent the mic wobbling scarily, then the resonant frequency of the mount (which determines the lowest frequency it can isolate at) rises uncomfortably high. This is all schoolbook physics.
What you ~can~ do to improve things is to give different axes different compliances, and that's what the Rycote Lyre does. Axial mics are far more sensitive to acceleration on the z-axis - along the body. So you can give this axis a low tension and allow massive displacement to produce near-ideal performance in isolation terms, with a splendidly low resonant frequency. But at the same time you can make the X and Y axes quite stiff to allow the user good control over the mic. The mount won't wobble around excessively, but it will absorb enormous amounts of LF energy on the axis that matters.
Rycote even took this idea further to allow high dual-axis compliance for side-fire studio mics, but still leaving the third axis stiff to prevent the mic sagging, as it always does in old-fashioned elastic band mounts. http://www.rycote.com/products/invision_studio_kit/
The Lyre mounts have superseded basic elastic suspensions precisely because they can be measured to isolate far more effectively than rubber or band mounts. No wild claims, no sales b**lsh*t, just honest science.
Chris Woolf (who knows a thing or two about microphone suspensions)
Allan Black
Veteran
Hi Chris, welcome and great stuff. Rode recognise a good thing when they see it ...
http://www.rodemic.com/videomic
Cheers.
http://www.rodemic.com/videomic
Cheers.
John Willett
Veteran
As the Lyre is patented other companies cannot just copy it as many did with earlier Rycote designs.
So Rycote are doing OEM specials for many companies, which you can clearly see when they use the Lyre.
Rycote are a great company; not only innovative in their designs, but also very helpful if you ever need to contact them.
and , yes, welcome Chris - good to see you here :thumbup:
