Twin short shotgun mic holder with wind screen protection solution

L

lonewolf2koc@hotmail.com

Well-known member
This is odd but I'm looking for a dual shotgun mic holder with full windscreen protection. I have the Schoeps CMIT5U and Sanken CS3e and use them accordingly to the condition. But it's too bulky to change. There are times I like to use the CMIT5u but prefer the CS3e and vice versa. The only solution is to record both mice at the same time. I have plenty of channels left on the SD744T and wondering if anybody done this. Kind of like using a stereo mic but really mono on 2 different mics. So far I only see a twin mounted mic for the smaller Schoeps CCM series but not short shot gun mic.
 
I haven't seen an elegant solution with current setups. I know at K-Tek we used to have inserts that could go into some of our mounts that would allow you to do this and the some of the older rycote mic clips were double clips. They were designed with M/S recording in mind. I don't think you'd be able to find any of these new these days.

The only other option is to have each mic in its own zeppelin and have a quick release at the top of your boom pole so you can change quickly between the two. I've never heard of or seen anyone do what you are wanting to do. It adds more weight to your boom pole, not only with the mics but also with extra cable, plus you run out of space inside your zeppelin, lessening the effect of the volume of dead air around your mic the zeppelin provides. It's definitely not an optimal way to use shotgun microphones.
 
Your boom op will love you ;~O

I haven't seen this done. I was going to suggest two zeps but then I realized you want to record both all the time.

What you might be able to make work is a mount for doing M/S recording. You would want then on top of each other and not side by side because you don't want to block the slots on the sides, but you will loose some directionality in the above below zones so? Shot guns work mostly on acoustic cancelations and having another mic blocking one side is going to have an affect on that. How bad???

I would suggest that a cheaper solution would be to have a second zep. and decide which you want in any given situation. Not a big switch over and the boom operator won't be looking for a saner mixer to be working for on the next gig. Plus post is not going to want to deal with the extra tracks generally.
 
Ah. On top of each other. Was originally thinking of putting a gaffer's tape to each other. Cross that silly idea out of mine. The mic is block on the sideway.

The whole idea for this is like mixing full fidelity shotgun mic and lav mic. Some producers like that effect. I myself like twin shotgun mics. There are budget reasons where it's hard to get two boom ops on location at the same time. A pound of extra weight won't kill me. I'm used to holding 25-30 lbs camera all day.

I looked around and found this:

Rycote Stereo Windshield WS AG MS Kit 080201

This one is mounted on top of each other and has connector boxes to just a single cable out. Seems like a possible solution for $600+400 accessories. Great for 1-2 man crew.


Noiz2 said:
Your boom op will love you ;~O

I haven't seen this done. I was going to suggest two zeps but then I realized you want to record both all the time.

What you might be able to make work is a mount for doing M/S recording. You would want then on top of each other and not side by side because you don't want to block the slots on the sides, but you will loose some directionality in the above below zones so? Shot guns work mostly on acoustic cancelations and having another mic blocking one side is going to have an affect on that. How bad???

I would suggest that a cheaper solution would be to have a second zep. and decide which you want in any given situation. Not a big switch over and the boom operator won't be looking for a saner mixer to be working for on the next gig. Plus post is not going to want to deal with the extra tracks generally.
Click to expand...
 
THat should do it. I would mock something up first though and make sure you don't get a weird pickup pattern that is a problem.

As a guess with the over and under one will pick up more from below and the other more from the top. What might get weird is that I would think that the bottom would be more sensitive to sounds from above and visa versa since that is the direction you are blocking the interference tube in.

Might be no big deal but it may make aiming the zep tricky since the "baseball bat" pattern of a shotgun in this case should spread out a bit up and down. Plus one or the other is always going to be a bit of axis.
 
This is a bit silly isn't it?
Recording both mic's because it's too "bulky" to spend 3 mins and swap out for the appropriate mic so you would
rather swing both in the air constantly?

You're trying to reinvent the wheel here. There's a reason why it's doubtful you've ever seen someone trying to do this before.
 
For the application I'm doing, it's not always recording dialogue in an urban environment. But with 1-man wildlife stuff. I have to carry cams, tripods, backpacks and hike many miles. So fewer gear is better in this special situation. Hate have to comeback for a 2nd trip to get the 2nd mic. Not to side track but it's relevant, I have to get two camera bodies for this. One is fixed with a super telephoto lens and the other is a wide angle. Changing lens in the field takes a lot of time and not including the dust getting into the sensor over time. The most dangerous part is not to damage the sensor when you're in a rush. Too many close calls. These wildlife appear at the spur of the moment. Many times in a few minutes they're gone. I can argue that every second counts in this.

Mobility, flexibility and speed are quite important attributes. I found most time I change mic head I'll miss that special moment shot. Yes. I can always mount the Sanken CS3e to the cam's body. But it's not the ideal place to be at plus the wind protection is no where close to a blimp. Not always possible to have a sound person in this special remote shoot. I actually mount the Rycote pistol grip on top of the 2/3" cam some of the times. Having 2 short shotgun mics in a blimp and simultaneously recording it are huge conveniences when you're a 1-man crew. There are scenarios where I have to place the SD744T several hundred feet away from the cam. Jam sync TC it to the main cam and let it rec unattended for hours. This is just to get that extra close up sound of the wildlife. And many times where I just don't want to cross the river due to high current and bear hiding in the trees. Having twin shot gun mics are very helpful in this rare but do exist in real world shooting. I can choose either the CS3e or the CMIT5U in post vs having to change back and forth the mic in the wild. Wind protection is a must also. Can't use those twin shotgun rods. A small 10-15 mph breeze ruins everything. Not including the liability of water damage, wildlife chewing up the blimp, etc..

Rippie said:
This is a bit silly isn't it?
Recording both mic's because it's too "bulky" to spend 3 mins and swap out for the appropriate mic so you would
rather swing both in the air constantly?

You're trying to reinvent the wheel here. There's a reason why it's doubtful you've ever seen someone trying to do this before.
Click to expand...
 
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You should have mentioned the application sooner, saved some grief. You are essentially doing FX recording which has different rules, as in just about none.

Since you are not booming dialog and it sounds like you are doing a lot of fixed position micing, or at least don't have to worry about booming actors, I would probably go with two zeppelins and a stereo mount that hold both. It looks awkward as hell but should avoid the possible interference issues, allows you to swap out and set up a stereo pair, or separate and get two perspectives.

It's not a terribly rare set up though almost never used for dialog, though some/all of Blue Velvet was recorded this way with a pair of hypers.

It's slightly bulkier but a lot more flexible.
Things like these.

http://www.amazon.com/K-M-23550-500-55-Microphone-Bar/dp/B001G43G96/ref=pd_cp_MI_0

or
http://www.fullcompass.com/product/286558.html

or
http://www.amazon.com/Stage-MY700-Stereo-Microphone-Bar/dp/B0002ZO5Z4/ref=pd_cp_MI_2
 
I have put 2 mics together on many occasions a Senni 416 and various brands of Hyper mics in a blimp.... simple just use a couple of rubber bands to strap the 2 together, record on seperate tracks..................simple :laugh:
 
Rycote make a blimp for the sennheiser M/S combo with the mics mounted on top of each other , we have one here at the BBC in Scotland.
 
GaryNattrass said:
Rycote make a blimp for the sennheiser M/S combo with the mics mounted on top of each other , we have one here at the BBC in Scotland.
Click to expand...

It looks like I'll get the Rycote Stereo Windshield WS AG MS Kit 080201 and the 3 to 5 pin XLR connBox. Either way I have to get a new windshield kit for the 2nd short shotgun. I talked to various people and many said Rycote is the brand to use. They're at a premium but I heard that they last a while and is lighter than most competitiors. Their Wind Shield Kit 4 I'm using is still working fine after 8 years of normal use. Just normal wear and tear on the coating of the grip. But overall it's still in good-excellent shape after many years of field abuse. Having a dual mic mount windshield will come in handy in special application situations.
 
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