klaukholm
Thread Starter
#1
27th December 2006
Old 27th December 2006
  #1
Lives for gear
 
klaukholm's Avatar
 

Thread Starter
Talking Elegant solutions for baffling of figure eights

I am looking for unobtrusive baffling options for figure eight mics for use in symphonic recording sessions.

I would love to see pictures of the solutions used at the LA the scoring stages.

Ideally I would find something that is light enough to be used on the same stand as a 6lbs mic hovering over a violin stand.

I am half thinking of using a schneider disc or something similar.
#2
27th December 2006
Old 27th December 2006
  #2
Lives for gear
 

Don't know if this will work for you, but I'm usually just careful about positioning of the mics and don't use baffles. I usually will place a fig-8 mic in such a way that the rear lobe is just capturing ambient information (ie pointing up towards the ceiling). When this is done, the natural null around the microphone is great for isolation from instruments that are close to the microphone.

In situations (such as a harp) where it is difficult to do this, I may place a standard studio gobo near the instrument to isolate the entire thing a bit- not just the mic. Either that or I use a directional ribbon such as a Beyer 160 where it isn't an issue.

--Ben
klaukholm
Thread Starter
#3
27th December 2006
Old 27th December 2006
  #3
Lives for gear
 
klaukholm's Avatar
 

Thread Starter
Thanks Ben,
That is good advice and what we usually do.
occationally we get engineers through that like to baffle (particularly the trumpet rca 44/coles 4038) and I figure it would be a good thing to have a few tools ready for the one time I have to baffle.
I would also like to experiment with a drier sound from the spots.

I quite liked the pics of Steve remotes "virtual baffle". Simple easy and probably quite effective.

I might make sure I always have a few of those ready just in case.
#4
28th December 2006
Old 28th December 2006
  #4
Super Moderator
 
Remoteness's Avatar
I have modified Popper Stopper pop filters with cardboard, foam and/or duvee.

In your case, I would flex the gooseneck to be right behind the figure 8 ribbon mic.

The photo below shows the Popper Stopper "Micro Gobo" used in between the drummer and bassist to help isolate the drums from the bass mic.
Attached Thumbnails
Elegant solutions for baffling of figure eights-popperstoppermicrogobo.jpg  
#5
31st December 2006
Old 31st December 2006
  #5
Lives for gear
 
sonare's Avatar
I use something similar when micing upright on location jazz stuff. Otherwise one gets a ride cymbal spot mic.

For the ribbon-- the guys at Royer cautioned against a rear lobe baffle because of the proximity side effects. I have not tried anything on the SF12, but using only one channel and being conscious of the side null is quite useful.

Rich
#6
3rd January 2007
Old 3rd January 2007
  #6
#7
3rd January 2007
Old 3rd January 2007
  #7
Lives for gear
 
sonare's Avatar
The baffle looks interesting, but what would the side effects of intruding into the rear lobe proximity zone be? That is exactly what the Royer folks warned against.

Remember, the figure 8 does NOT behave the same as a cardioid in that regard.

Rich
klaukholm
Thread Starter
#8
3rd January 2007
Old 3rd January 2007
  #8
Lives for gear
 
klaukholm's Avatar
 

Thread Starter
I am a little concerned about the oval shape as I imagine it would focus reflections back at the mic.
I would rather have something that is of a hemispheric shape even though it would isolate less.
The baffle does look interesting for certain uses though and it might well be worth checking out.
#9
3rd January 2007
Old 3rd January 2007
  #9
Super Moderator
 
Remoteness's Avatar
With regard to the figure 8 setup, I bet the further back you place the baffle the better.
#10
3rd January 2007
Old 3rd January 2007
  #10
Lives for gear
 
Yannick's Avatar
 

Not elegant and impossible to fit in an orchestra, but it worked in this case (pianoforte in church: either too close for the instrument, or too wet but a good overall sound).

I angled the baffle in such a way that there could not be a direct reflection into the back of the SF12. Should work on small/closer baffles as well.
Attached Thumbnails
Elegant solutions for baffling of figure eights-baffle-sf12.jpg  
#11
3rd January 2007
Old 3rd January 2007
  #11
Lives for gear
 

I've done something similar to what Yannick did with my SF-24 in rooms that were too live. For a session, I'll set the group facing a curtain with the mic's rear lobes facing into the curtain to minimize reflections.

--Ben
#12
15th February 2007
Old 15th February 2007
  #12
Gear interested
 

Why would you use a figure 8 pattern mic if you're going to mask one side? Did I missed something?

Moreover, from my experience with ribbon mics, baffling the rear side of a mic tends to change its response quite dramatically - depending on distance- and rarely for any better...
#13
15th February 2007
Old 15th February 2007
  #13
Super Moderator
 
Remoteness's Avatar
Sometime you may want to use a figure 8 ribbon mic and attenuate the rear lobe a bit.

Completely baffling the rear side of the mic does change its response and I would not try that.
I have found that it can work well for you when you distance the micro gobo a fair amount.

Sometimes you got to do what you got to do...

YMMV
klaukholm
Thread Starter
#14
15th February 2007
Old 15th February 2007
  #14
Lives for gear
 
klaukholm's Avatar
 

Thread Starter
Mostly I like my 44bx, and sometimes need to attenuate the rear lobe.
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Similar Threads
Thread
Thread Starter / Forum
Replies
macr0w / So much gear, so little time!
13
MickeyBee / So much gear, so little time!
1
blackcom / So much gear, so little time!
10
hywyn / Remote Possibilities in Acoustic Music & Location Recording
11

Forum Jump
 
Register FAQ Search Today's Posts Mark Forums Read

SEO by vBSEO ©2011, Crawlability, Inc.