Field recording

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#326

Rycote make one for the D100. I can’t attest to it’s efficacy specifically, but it has to be better than the stock foam ones…probably worth a try…but i wouldn’t say it’s going to cut it for heavy wind. Not sure of the dimensions but perhaps you could look at buying a second hand Rode Zepplin or something similar and trying to fit it in there?


#327

Can’t say for certain, but Zoom’s wsu-1 might fit. Its used with a little zip tie thingy but I can’t find any info online about it’s maximum dimensions, but I figure if it can fit over Zoom’s handy recorders then it should be fine over Sony’s - there isn’t too much of a size disparity is there?


#328

Does anyone have advice on DIY windjammer? The foam one included with the h4n also doesn’t cut it!


#329

The Sony has a nice fluffy windscreen, not a foam one, but the mics are so sensitive it’s still a problem in low / modest wind.

This guy likes the Rode Dead Kitten (!?) best, but the same author says elsewhere on the internet that they’re redesigned and less effective now or something. He’s being pretty particular though.


#330

My mother in law sewed one for me using some fake fur and it works great. Make allowances for seams when cutting, mine ended up a very snug fit. I think a bit larger with an elastic bottom or draw string would be better.


#331

Do you hear significant losses in high frequencies? The materials people use seem pretty thick and they don’t say anything about frequency response.


#332

Not that I noticed. The fur was from the collar of an old jacket and didn’t have a thick backing. I was just happy I didn’t get the boomy wind sounds ruining outdoor recordings.


#333

I use a Rode dead kitten on my Sony M10. Before that, I used a cheaper alternative. The Rode is much better. The fur has very long strands which seem to stop all wind from hitting the mic. Consequently you can set the recording level much higher.

There is a loss of higher freqencies but it’s a trade-off. You would probably need a much more expensive mic to avoid that, I would imagine.


#334

I don’t think any quality of mic will change the loss of frequency loss through those dead kittens/wombats etc as much as their construction will i.e the quality of the material the dead animal is made from affects the end result, such as you’ve already noticed/noted


#335

I would think that a high-end DPA mic with a top quality dead cat/kitten would result in more high-frequencies being recorded than a budget mic and cover. Obviously some top end will be lost.


#336

Ah yes, of course. I see your point, and you are correct…but the original mic will have less high frequency response in the first instance, or conversely the DPA will have better high frequency respose …and this is what I think I was trying to convey (i think I was thinking something different to what I actually wrote) For the OP the construction of the wind protection the most important thing to focus on ie the best possible available because that will minimize his frequency loss. The better the material, the less the HF loss for any given microphone. More air around the mic (between the mic and the wind protection) also makes a difference.

Does that make more sense?


#337

Yeah totally, we are arguing the same point. My Rode windshield has a better quality and longer strands of fluff than the Chinese copy or the Sony windshield bundled with the recorder. It definitely makes a difference in the recording.

So the best approach is to go for the best mic you can afford but don’t scrimp on the kitten!


#338

There’s a reason why Cinela’s and Rycote’s are expensive!


#339

I use dpa mics with windbubbles and get very good results. The bubble feel expensive for what they are initially but well worth it in my opinion


#340

Curious, does anyone here do field recording for a living? (Not sure if anyone has already mentioned this; so many comments!) If yeah, let’s hear how you got into the profession! Maybe share some examples of your professional projects too?


#341

I wouldn’t say “for a living” but I’ve certainly used my field recordings professionally as a radio producer. (as referenced above)


#342

I enjoy checking this thread - seems like there is an uptick in internet interest in all things field recording these days. emphasized text

Looking forward to checking out the new Kate Carr: https://soundcloud.com/flaming-pines/i-ended-out-moving-to-brixton-kate-carr-excerpt


#343

That excerpt is great! Really nice…


#344

That’s awesome!! What kind of radio shows/programming do you produce? Do you work for a local radio station, or do freelance? I’ve dabbled in podcast production, and at one point was going to help produce a podcast for a soap recipe YouTuber. Unfortunately the project went up in suds…


#345

Freelance…which is why I say I would not say “make a living”! Infact my living led me to do the radio production. I have produced work solely for the national broadcaster at a professional level. Focus has been very specifically in the realm of Indigenous culture…and specifically systems of medicine.