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Gear / Technical Help => Microphones & Setup => Topic started by: SamCastleton on August 27, 2024, 12:29:18 PM
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Hi all,
So after being slightly disappointed with my Radius Nimbus windshields I decided to blow my (non existent now) budget and go for the Cinela Leos. It seems they are possibly the next best thing after a zepplin and despite the cost increase are much more acoustically transparent compared to the Rycote BBGs.
I'm sure most of you have seen the fascinating Cinela comparison youtube video but if not it is here...
https://youtu.be/3Em4RvvTfOs?si=0avvztEc7scXa9fl
The frequency graphs really got me thinking about EQ correction in post. Is it a good idea to take the EQ curves from the Cinela tests and then do a EQ correction curve in post or my recordings or is that crazy? I was also thinking about recording with a low pass EQ on my recorder if possible too (Zoom F3).
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I was also thinking about recording with a low pass EQ on my recorder if possible too (Zoom F3).
Passing low frequencies means blocking high frequencies. Are you sure that's what you want?
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I was also thinking about recording with a low pass EQ on my recorder if possible too (Zoom F3).
Passing low frequencies means blocking high frequencies. Are you sure that's what you want?
Apologies, brain fart. Yes I obviously meant high pass EQ to lower very low frequency sound from handling, wind, mechanical etc
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Hi all,
So after being slightly disappointed with my Radius Nimbus windshields I decided to blow my (non existent now) budget and go for the Cinela Leos. It seems they are possibly the next best thing after a zepplin and despite the cost increase are much more acoustically transparent compared to the Rycote BBGs.
I'm sure most of you have seen the fascinating Cinela comparison youtube video but if not it is here...
https://youtu.be/3Em4RvvTfOs?si=0avvztEc7scXa9fl
The frequency graphs really got me thinking about EQ correction in post. Is it a good idea to take the EQ curves from the Cinela tests and then do a EQ correction curve in post or my recordings or is that crazy? I was also thinking about recording with a low pass EQ on my recorder if possible too (Zoom F3).
Most users here are using things like the much cheaper Movo equivalent of the Radius products although a few may be using Rycote Baby Ball Gags and a blimp here and there if they are professional boom ops who also tape.
Many of the Cinela products are over $500 and up to $1500 or more which is beyond the reach of many hobbyists for just wind protection when there are other solutions that are viable at a fraction of the cost.
But to answer your EQ question - it's perfectly normal to want to replace high freqs and roll off the lowest when recording with wind protection in place that can attenuate treble. I personally never use any sort of low freq roll off when I'm recording I prefer to do that when I do my post work in a controlled environment with gear that's familiar. I almost always add a little high frequency EQ depending on the gear used and the conditions.
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EQ correction as needed afterward., which includes compensating for windscreen response. You can do so by inverting the measured frequency attenuation response curve of the windscreen, but usually easiest to just make the correction by ear as needed, as the listening experience is more important than achieving an "accurate" response. Its nice when the response of a somewhat "bright" microphone ends up compensating fo rthe high-frequency attenuation of the windscreen, at least in part. In that way, if you always use the same windscreens on the same microphones, you can consider the combined microphone+windscreen response as the baseline response of the microphone system, and after using it a few times you'll get an idea of what correction if any typically needs to be made.
EQ is a powerful tool that can do much to compensate for windscreen response. It may not compensate entirely, as there may be some loss of detail due to the reduction in sensitivity.. and compensation will increase the noise floor of the recording in that region somewhat, but that noise is often buried far below the ambient noise floor in concert recordings. Sufficient wind screening + corrective EQ when needed beats having wind noise on a recording every time.