Omni or directional mics for outdoor recording?

No contest. An omni mic designed for outdoor use will be much less prone to 
wind noice than a cardioid. Hence my selection of the RE50. Additionally, 
the business part of the mic is enclosed in a handholdable casing.

While a cardioid may function adequately on a windless day, the right omni 
will take wind gusts of 10-15 mph in its stride.

David Lewiston

----- Original Message ----- 
From: "David Lewiston" <[log in to unmask]>
To: <[log in to unmask]>
Sent: April 18, 2006 6:01 PM
Subject: Re: [ARSCLIST] portable sound recording devices

> Thanks, Steve
> I didn't realise the vulnerability of condenser mics until I had a 
> terrible time in Jammu. Nearly all the recordings (male "singers" who 
> shouted at the tops of their lungs) yielded vilely distorted recordings.
> My good friend Nishi Nakra in Delhi -- to my way of thinking, the best 
> loudspeaker designer in India, thought it was the "capsules bottoming." 
> But when I discussed the problem with Klaus Heyne, the microphone maestro, 
> he opined that it was the FETs that caused the problem. So I paid his not 
> inconsiderable fee to have the mics (KM84s)  Klaused.
> I use three basic setups in the field: Mid-Side, with a KM84 and a 
> Sennheiser MKH30 configured in a Rycote windscreen, for street recording, 
> and also small combos indoors; a pair of crossed KM84s to record Tibetan 
> rituals, with the mics set up at the shrine end of the temple; and a 
> spaced pair of RE50s--I've made amazing good recordings with the latter, 
> in fact, they're the only mics I use in Bali, where I also insist on 
> recording outdoors. The current crop of DAWs (I use Samplitude) make it a 
> snap to turn Mid-Side originals into regular stereo.
> Salutations, David L
> ----- Original Message ----- 
> From: "Steven Smolian" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: April 18, 2006 4:44 PM
> Subject: Re: [ARSCLIST] portable sound recording devices
>> If this is the David Lewiston who made the Explorer Series for Nonesuch, 
>> etc., he has more experience than all of us combined in recording folk 
>> instruments and groups under all kinds of circumstances.  I've admired 
>> his skillful work from the git-go.
>> Steve Smolian
>> ----- Original Message ----- 
>> From: "Richard L. Hess" <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Tuesday, April 18, 2006 10:07 PM
>> Subject: Re: [ARSCLIST] portable sound recording devices
>>> At 09:34 PM 4/18/2006, David Lewiston wrote:
>>>>When recording such a loud instrument, the mic should not be too close 
>>>>to it. For pipes & shawms I prefer not to place the mics closer than 20 
>>>>feet. Because such loud instruments are intended to be heard out of 
>>>>doors, that's where I record them.
>>>>If a condenser mic mic is too close to such a loud instrument, it may 
>>>>well overload  diaphragm and/or the FET. I've run into this sort of 
>>>>For such an application I would leave the Neumann condensers in the 
>>>>carrying bag, choosing instead a dynamic omni such as the EV RE 50, 
>>>>which is very well behaved.
>>> I don't disagree with the advice but the mic preamp may be what is 
>>> overloaded, not the mic itself.
>>> Do bagpipes really get up to 120 dB SPL where you would mic them? The 
>>> Audio Technica AT-822 that I suggested as a good buy will generate 1% 
>>> THD at 1 kHz at 125 dB SPL.
>>> At that point, the mic will be putting out over half a volt AC.
>>> If indeed the bagpipe is putting out in excess of 120 dB SPL, then the 
>>> musician needs to seriously worry about hearing protection.
>>> Cheers,
>>> Richard
>>> Tape Restoration Seminar:    MAY 9-12, 2006; details at Web site.
>>> Richard L. Hess                   email: [log in to unmask]
>>> Aurora, Ontario, Canada       (905) 713 6733     1-877-TAPE-FIX
>>> Detailed contact information: 
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