Hi all -
I've accumulated a few hours recording in the field (my first for
real) since last I wrote, and I'm wwondering if we could review a
little wind screen theory. From my first questions here, I toolk away
the idea that the main idea was to create a layer of still air around
the michead. It's clear to me now that that's easier said than done.
Here has been my approach. I'm using the Shure 183s in barrier arrays
that I've already posted photos of, but here they are again:
http://www.pbase.com/kdurling/183_arrays
There isn't a good view of the windscreen I've been using, but it's
based on Curt Olson's inverted wire mesh Post-It holder idea, except
that initially I covered it with fake fur rather than a tube sock.
You can kind of see that in the photo marked "Test Setup." The fake
fur is backed by a loose weave fabric as most of you know, and in
studio pink moise tests proved almost acoustically transparent. The
wire mesh basket is about 3/4" deep, leaving that much space in front
of the mic head.
However, in anything above a 3-5mph zephyr this setup proved fairly
ineffectual. My next measure was to put a layer of synthetic fleece
on the *inside* of the wire mesh, loosely placed. This reduces the
air space by about 1/4". The fleece produced a very small but
noticeable high-freq attenuation in studio tests.
This was an improvement over the fur-only set-up, but is still subject
to low freq buffeting in real conditions. Most of it be filtered out
in a DAW, but I would like to improve the source quality.
What would you suggesta s further refinements or other approaches?
Do I want to increase the distance from the screen to the mic? I.e.
use something like a screen dome rather than the flat trays? Try some
other materials? Any aspects of wind reduction technique that I'm
missing?
Thanks as always
Ken
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