Urethan Foam vs. Softie

N

naveenmedia

Active member
Question for any pro-audio people here:

I've noticed when watching BTS or ENG stuff where you can see the boom ops, some people use the basic urethane foam covering on their mics when indoors, while others go ahead and use a Rycote Softie.

My very basic understanding is that the foam is better indoors since it provides basic coverage while cutting out the least sound, while the Softie is preferred outdoors since it cuts out some sound but helps muffle wind and other excess noise.

The reason NOT to use a softie indoors is because in a controlled environment, you don't need that much protection.

Is any of this right? Wrong?

Thanks in advance for any help.

Naveen
 
My .02

I've never noticed a decrease in audio signal or quality using a softie. But folks with more discerning ears may disagree. As far as I can tell there is no downside to a softie indoors. Besides, even though an indoor shoot may not have wind, f you have to fly the mic around to keep up with folks, that can create wind noise as well. The foam windscreens are barely helpful.
 
usially eng guys are to lacy or not have time to change , no need work with softies or any other hard wind protection when you work interiors
by the way the sitcom i record now with 2 neumann 82 i dont put even the foam over as the booms dont fly from side to side
 
All mic covers causes a slight higher EQ loss. To test, simply put on headphones and put a cover on a mic, speak, take it off and speak. You'll notice a slight loss of edge, but it's no big deal.

Mic covers that work best are those which provide a dead air space between the mic itself and the cover. This is simply an empty area in which the air settles down. A fine weave fabric does the trick. Rycote Zepplins do this well, for a lot of money. Foam does not work very well in comparison to the fabric but works well as the first line of defense in combating moving air. In a studio the Pop screens in front of a mic provides the same function, it settles down the air molecule movement, while letting in the acoustic wave energy. The key is creating a dead air space in front of the mic. Use whatever creates this condition.

You might try a foam cover. Go to a fabric store and try out various fabrics by blowing through them. With some you will feel the air (no good) with others you will detect little to none, go with nothing (no detectable air blowing through). Get a small piece of the cloth and place it inside the foam cover[you will eventually glue it to the foam]. When mounting to the mic, [IMPORTANT] make sure there is a dead air pocket between the mic and the fabric/ foam. Listen... & Smile:)

You can get even more elaborate and construct two dead air chambers sectioned off with fabric!

Don't be afraid to experiment and build your own devices.
 
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As was summed up by others responding to your question, you can leave your softie on your mic all the time. It is as acoustically transparent as the indoor windscreens. The Softie does make the microphone safer while transporting (when not inside a Pelican!) and provide more cushioning should it crash, nose first, into the ground.

The REAL reason anyone would change to the indoor windscreen EVER is due to weight in my opinion. I have boomed thousands of hours on reality shows and those precious few ounces of difference are quite obvious when you are Operating for that many hours each day.

I am able to cue quicker and experience less overshoot when swinging the pole. By these terms I mean, I can rotate the boom faster with less wiggling action that might induce noise and also struggle less with the pole as I'm decelerating it into my final position. All of this is accomplished by reducing the weight on the business end of the pole. This is also why I am a fan of the Ktek Ksm suspension. It's very light weight and is adaptable for use inside of a zeppelin. http://www.locationsound.com/proaudio/ls/SKTE0036.html
 
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