How do rifle mics work?
Martin Griffith
suggest, like basic principles, simple maths
ta
Martin
Harley-Davidson's are the best
Ride a mile and walk the rest!
Scott Dorsey
>Did a google, nothing on the Sennheiser or Neumann sites, any www's to
>suggest, like basic principles, simple maths
There is a JAES article from the sixties by Sank which talks about the
general principles of interference tube microphones.
When all is said and done, the answer is that they don't work very well.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Mark W
If you mean those long mic's at football games, if I remember correctly
they pick up noise in all directions, but put everything out of phase
except what's coming from directly in front of it.
I used a mic like this (but much less so) to record scratch vocals when the
vocalist refused to go into the little booth and "lose the vibe" of
playing with the band. Continue your search and look for "Hyper Cardiod"
Regards,
Mark
--
http://www.marktaw.com/
Eric Toline
Re: How do rifle mics work?
Group: rec.audio.pro Date: Mon, Jun 10, 2002, 8:47pm From:
klu...@panix.com (Scott Dorsey)
Did a google, nothing on the Sennheiser or Neumann sites, any www's to
suggest, like basic principles, simple maths
There is a JAES article from the sixties by Sank which talks about the
general principles of interference tube microphones.
When all is said and done, the answer is that they don't work very well.
--scott<<<<<<<<<<
Not true. When used for dialog on films & TV projects they work
amazingly well. Every production sound mixer has & uses short and long
shotgun mics.
Eric
Jny Vee
Audi...@webtv.net (Eric Toline) wrote:
>
> Re: How do rifle mics work?
> When all is said and done, the answer is that they don't work very well.
> --scott<<<<<<<<<<
>
> Not true. When used for dialog on films & TV projects they work
> amazingly well. Every production sound mixer has & uses short and long
> shotgun mics.
>
> Eric
it's a very steep curve... the short shotguns (like the old Ck8) work
pretty smoothly... the longer they get, the weirder they want to sound
and the WAYY more expensive they need to be to sound smooth.
--
>> Help Keep The Net Emoticon Free! <<
Marty Atias
from 10 feet in a noisy environment either.
Marty Atias
Eric Toline
Re: How do rifle mics work?
Ma...@ATSComms.com (Marty Atias)
dialog from 10 feet in a noisy environment either.
Marty Atias
Very well said Marty. Shotgun mics were designed for a specific purpose.
Used properly they are the best tool for the job. Production sound
mixers don't have the luxury of trying different mics to find just the
right one.
The one phrase on a shoot that we never want to hear is "waiting on
sound". The alternative to a shotgun mic is using wireless lavs but
that's a whole nother can of worms.
Eric
Marty Atias
with one or more capsules mounted near the rear of the tube. The tube has
sound ports along its length to control the admittance of sound into the
tube. As sound from various axis enter the tube, most get acoustically
canceled except for sound entering the front of the tube. The longer the
tube, the better the ambient noise rejection.
Interference tube mics are designed for the specific purpose of picking up
dialog from a distance while rejecting ambient sounds as much as possible.
Their polar pattern is similar to a very hypercardioid mic in the mid to
upper frequency regions, while being less directional in the lower
frequency range, which is usually filtered out and is not critical for
most dialog (at least in situations where it is necessary to use a shotgun
mic).
Hope this helps
Marty Atias
ATS Communications
Justin Ulysses Morse
<Ma...@ATSComms.com> wrote:
I remember once, when I didn't know anything at all, I used a shotgun
mic (EV 644) at a distance of maybe 10 feet to pick up the slapping
sounds from an upright bass with the rest of the rockabilly band in the
room. I can honestly have no idea what posessed me to do this, but it
turned out fine. Sounded good on the radio and I think we even
released something from that session. But I wouldn't even be willing
to own that mic myself, and I certainly wouldn't do that with one
again.
ulysses
Scott Dorsey
>
>I remember once, when I didn't know anything at all, I used a shotgun
>mic (EV 644) at a distance of maybe 10 feet to pick up the slapping
>sounds from an upright bass with the rest of the rockabilly band in the
>room. I can honestly have no idea what posessed me to do this, but it
>turned out fine. Sounded good on the radio and I think we even
>released something from that session. But I wouldn't even be willing
>to own that mic myself, and I certainly wouldn't do that with one
>again.
The 644 is rotten off-axis, even by shotgun mike standards, but it's a
fun toy. Used to be you could get them for twenty bucks or so and for
that price, it's a good thing to have. Really weird kick drum sound, too.
--scott
Kurt Albershardt
>
> When all is said and done, the answer is that they don't work very well.
Yeah, but that A-T Adaptive-Array setup is pretty cool...
Scott Dorsey
It seems to work really great at eliminating one noise source at a time,
which is really what you need most of the time.
Mike Rivers
> The 644 is rotten off-axis, even by shotgun mike standards, but it's a
> fun toy. Used to be you could get them for twenty bucks or so and for
> that price, it's a good thing to have. Really weird kick drum sound, too.
I remember one very early year of the Philadelphia Folk Festival, must
have been around 1963-4, the PA mics on all the daytime workshop
stages were a pair of 664's at the corners of the stage, aimed toward
the center where the performers stood. Of course in those days most
who didn't come to drink sat close enough so that we didn't need to
hear the PA system anyway.
Ah, for simpler times.
--
I'm really Mike Rivers (mri...@d-and-d.com)
Geoff Wood
don't stick 'em in front of the rifle.
Sorry.
geoff