How can I stop getting wind noise in audio???

yep the ktek is a good fair priced one. Mine cuts the noise to practically nill in everything but REALLY windy conditions - like stuff you dont really want to stand in.
 
okay cool but dag this looks like the softie almost. is there that big of a difference? also b&h has it for $250 and trew audio has it for $310 is there any other place that may have a better price?

will i ever even need the softie that i bought?? seems useless at this point.
 
FilmBoy77 said:
will i ever even need the softie that i bought?? seems useless at this point.
Click to expand...

Pretty much. They are useful in that they can be quickly taken on and off in situations that demand that but essentially most small kits just need a zeppelin.
 
The softie looking thing that came with the Rode is probably no where near as good as either the K-Tek or Rycote Softie. Either of these choices would get you pretty good "average wind" control.

I doubt the K-TEK "softie" is much different then the Rycote Softie... To basically double the wind control of those you need a zepplin, as Oleg said. There are two things that control the wind... that's dead air space, and fur. The more wind you have the more you need of both. The softie style windprotection uses a very low density open-celled foam directly around the mic, and this is how they mimic the dead air space that you get in a blimp (or zepplin)... but the true dead air space works better, and in conjunction with a furry jacket (sometimes even VERY long fur) you can control higher winds.

There is still a point of no return with wind though... and you may have to try your best to flag off some wind for the mic... or figure out some additional wind control in some other way.

The other factor of very high winds is the sounds that high wind causes... such as tree branches filtering wind... or the sound of wind going around other objects, but there's little you can do about that other then changing locations or trying to point the highest rejection part of the mic pattern at those objects... while still keeping the beam of the mic pointing at the talent. (There are usually "pockets" at 120 degrees off the direct axis of the mic... so point those "invisible holes" at the unwanted sound.)
 
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