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hi, i'm looking for a low noise HQ setup which i can use in the field. i'd prefer omni mics like he mkh8020, but am distracted by the usual setup, i.e. a tripod, mic clamps, rycote baby balls etc. i wonder if someone has experience with putting two small omnis into a rycote or rode blimp? the spacing of about 30cm would be ok. recommendations appreciated, thanks, udo

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depending on the wind conditions I've had good luck with the DPA foam windscreens. sound very transparent, lower profile and cost than a baby ball gag, and can get clean audio up to about 10-15 mph winds.

not for extreme conditions obviously, but they can at least get you outside.

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  • plus omni microphones are less susceptible too wind due to there construction, so maybe a few more mph can be added? or do you use omni's as well rene?
    – Arnoud Traa
    May 13, 2013 at 17:21
  • its certainly possible. I have omni's on my list to acquire. :)
    – Rene
    May 13, 2013 at 19:10
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I think you'll find that 30 cm between omnis will produce too narrow a stereo field. It's much better to use two zeppelins so you can vary the mic spacing to taste. If you want to get two spaced mics into a zeppelin, I recommend going with cardiods and recording in ORTF. Rycote makes a great mount for that, which I'm using with two sennheiser MKH 8040s. Another option would be to experiment with a Jecklin Disc in between the two omnis.

I recommend reading The Stereophonic Zoom by Michael Williams for more info about AB stereo mic placement.

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  • hi justin, i know that document, and i thought i'm familiar with the SRA... a wider distance narrows the recording angle, means things "outside" the SRA will be either on the left or right speaker, but not as a phantom source between the speakers. AB30 has a SRA of 180°, AB60 about 120°, and AB120 about 50°. that's why i go for small distances between the mics. on headphones things are, well, different. --u
    – unosonic
    May 13, 2013 at 19:21
  • It's all a matter of taste and proximity to the source of course. I prefer omnis to be much wider for sfx work, like 40-60 cm or even more, especially for ambiences. Diffuse ambiences can sound great as wide as 1 meter or so. If it sounds good to you that's all that matters, of course.
    – Justin P
    May 13, 2013 at 19:39

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