Rich -
I am going to try it. With a month left of good migration season, I want
to get going! not that there's not plenty to record later, but with these=
huge numbers of creatures around right now, it's symphonic.
I'm inspired, as I've spent a good deal of time post-processing the
recordings I got Tuesday, with all their wind rumble. Seemed like none of=
the EQ settings I had in Samplitude had quite enough kick to cut the low
freqs on those tapes - like max -20DB - but I have the trial vesrion of
Audition on another computer, and under "Scientific Filters' there's a
250hz low cut and in combination with a 50% normalize it got it sounding
good enough to give me a thrill. I can hear artifacts from the wind rumble=
and one helicopter that flew by ;-) , but I've gotten the S/N to where
it's really not bad. Big fun! So I'm inspired to get some cleaner
recordings now.
Attitude? What attitude?
Ken
At 01:08 PM 2/26/2005, you wrote:
>Just a couple ideas to try or disregard as you see fit.
>
>If you will accept increasing the vertical separation of the two mics
>then you could put a ball head on each mic. The home made equivalent
>would be built from the plastic mesh eggs that Walt linked to earlier
>from a craft source on-line. In long distance outside recording the
>phase problems from increasing the verticle axis distance in XY is not
>so great as in close indoor recording. Outside you are usually
>recording sounds on a narrow horizontal plane.
>
>If maintaining the vertical alignment is important to you, then you
>want to go to a bigger windshield and place both mics into a single
>windscreen. I would buy the Shopvac filter element and leave the
>bottom cap in place to mount your tripod, stand or handle to. I would
>cut two access holes in the side about 2" diameter. This would
>involve a wire cutter and a filet knife. I would stuff those holes
>with 3" thick foam rubber cut into 3" rounds. With the foam placed on
>a table I would cut the mic holes in the foam by twisting a sharpened
>copper pipe through the foam. The foam will now serve as your shock
>mounts and mic support structures.
>
>Now stretch a stocking cap or extra large women's knee high over the
>filter element and cut the holes in it where the mics will pass
>through. If you used a nylon material stocking hat melt the cut edges
>with a flame to prevent unraveling.
>
>Rounding the top will add a very small amount of additional noise
>reduction so can be considered optional. I would use a plastic food
>strainer for that with the handle cut off. Placement of foam over the
>bottom plate will reduce the resonant bump that you may or may not
>notice from sound bouncing off that hard bottom plate.
>
>Rich Peet
>
>PS Pardon my attitude lately. To say that I have MN winter cabin
>fever would be an understatement. Get me out of this house I am stuck in.
>
>
>
>--- In Ken Durling <>
>wrote:
> > Until I can afford an M-S array or a Telinga, mostly I'm working
>with my
> > previously mentioned pair of CM-300s. X-Y is what I know, so that's
>what
> > I'm doing for now.
> >
> > 1) Are there any references to windscreens to cover an X-Y setup?
>most of
> > the zeppelins and fuzzies I'm seeing look like they're designed for
>either
> > a M-S or shotgun arrangement, i.e. tubular. I'm imagining a triangular
> > "zeppelin" for an X-Y, but perhaps there's another approach?
> >
> > 2) Any suggestions for what else I can do with 2 mics? I was
>thinking of
> > possibly piggybacking an omni and cardioid-capsuled mic for a sort of
> > pseudo M-S - and trying different distances between the two capsules
>- any
> > theoretical comments on this idea?
> >
> >
> > Ken
>
>
>
>
>
>"Microphones are not ears,
>Loudspeakers are not birds,
>A listening room is not nature."
>Klas Strandberg
>
>
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