Headset / Boom microphone foam windscreens

[BCAP]

Hello experts, this is possibly a very basic question. I recently worked on a production where I was able to use some headset / boom microphones, particularly the Countryman E6 and Audio Technica BP894. By the way, which are quite excellent. Unfortunately the actors seemed to easily and frequently lose the flesh colored foam windscreens for the mics during costume changes (even though I made a note of telling them in advance to be careful). I've tried to secure these screens onto the end of the boom with different methods - Nexcare flesh colored tape, etc. with no luck. I can't hold the actors to account entirely, as I know this is an issue that happens easily. I'm hoping to avoid the issue if possible while still being able to use the windscreen.

Has anyone else had this same issue and how do you deal with it?

The foam windscreens can be fairly pricey when ordering the replacement unit from the manufacturer or even an authorized supplier. Is there an economical source from which one can get replacement screens?

Are there any workarounds? Can I somehow build my own screens with bulk material?

Thanks in advance for your answers and consideration!

 

[microstar]

Windtech 2600 series: http://www.windtech.tv/Small_Windscreens.html
From anyone who sells Windtech, like Full Compass Systems.

 

[Robert F Jarvis]

Hello experts, this is possibly a very basic question. I recently worked on a production where I was able to use some headset / boom microphones, particularly the Countryman E6 and Audio Technica BP894. By the way, which are quite excellent. Unfortunately the actors seemed to easily and frequently lose the flesh colored foam windscreens for the mics during costume changes (even though I made a note of telling them in advance to be careful). I've tried to secure these screens onto the end of the boom with different methods - Nexcare flesh colored tape, etc. with no luck. I can't hold the actors to account entirely, as I know this is an issue that happens easily. I'm hoping to avoid the issue if possible while still being able to use the windscreen.

Has anyone else had this same issue and how do you deal with it?

The foam windscreens can be fairly pricey when ordering the replacement unit from the manufacturer or even an authorized supplier. Is there an economical source from which one can get replacement screens?

Are there any workarounds? Can I somehow build my own screens with bulk material?

Thanks in advance for your answers and consideration!

We have same problem with the EV RE97-2Tx; Quoted foams are $16! But found "OnLineService-USA.com" had very small diameter wind screens for $1.90. They are tight enough to pull on over the end of the boom but is the brand's plastic cylinder adaptor is still on the boom these will fit even tighter. Did you find out anything useful (like how to make your own?)

 

[BCAP]

We have same problem with the EV RE97-2Tx; Quoted foams are $16! But found "OnLineService-USA.com" had very small diameter wind screens for $1.90. They are tight enough to pull on over the end of the boom but is the brand's plastic cylinder adaptor is still on the boom these will fit even tighter. Did you find out anything useful (like how to make your own?)

Thank you very much for the suggestion. I will definitely check out OnLineService-USA.com. The BP894 is unusual in that the cardioid microphone at the end of the boom swivels and perpendicular to the boom, making the end of the boom T-shaped. The A-T supplied windscreen is closed on both ends with a hole in the middle. Not to say that a typical boom mic windscreen won't work (they work in a pinch).

 

[Rod Reilly]

Why are you even using windscreens!

If the mics are being used indoors (thus there is no "wind") and the mic head is placed correctly - 3/8" or so from the corner of the mouth when the actor has a neutral smile, there will be no "breath" noise and no pos and plosives (since the mic is off axis. If you use a cardioid capsule (why?) then positioning is more difficult if you want a natural sound and you may end up in from of the mouth - back to pop-filters.

While in theory a earset mic floating about an inch off the cheek sounds "better", the sound is more consistent if the mic actually touches the cheek - all the time. Any sound issues can be EQ'd out (once!). When the mic floats around, it also moves constantly and every change in distance from the mouth, jaw, cheek changes the EQ characteristics. Who wants to deal with that.

I have a similar argument about cardioid earsets - (AT and our GV750 excepted to some degree) - since for the most part the mouth is significantly off-axis to the cardioid pattern we do not get the expected benefits from the rejection of sounds behind the mic, but we do get the inherently non-flat sound of a cardioid and in some cases bad comb filtering effects that are difficult to EQ vs. the simplicity of EQing an Omni capsule, often resulting in both better sound and equal resistance to feedback than that cardioi that was going to solve you feedback issue. Move the speakers, treat the room! and keep the sound guys job do-able!

Talk about giving advice against my own best interests - besides cost effective elements for wireless systems, Bodymics sells small foam windscreens - pack of 10 - $10 including shipping, pack of 100 $59 including shipping. Have them in black and a yellowish cream color. - trying hard to find true cream ones that don't cost an arm and a leg.

 

[BCAP]

Why are you even using windscreens!

If the mics are being used indoors (thus there is no "wind") and the mic head is placed correctly - 3/8" or so from the corner of the mouth when the actor has a neutral smile, there will be no "breath" noise and no pos and plosives (since the mic is off axis. If you use a cardioid capsule (why?) then positioning is more difficult if you want a natural sound and you may end up in from of the mouth - back to pop-filters.

While in theory a earset mic floating about an inch off the cheek sounds "better", the sound is more consistent if the mic actually touches the cheek - all the time. Any sound issues can be EQ'd out (once!). When the mic floats around, it also moves constantly and every change in distance from the mouth, jaw, cheek changes the EQ characteristics. Who wants to deal with that.

I have a similar argument about cardioid earsets - (AT and our GV750 excepted to some degree) - since for the most part the mouth is significantly off-axis to the cardioid pattern we do not get the expected benefits from the rejection of sounds behind the mic, but we do get the inherently non-flat sound of a cardioid and in some cases bad comb filtering effects that are difficult to EQ vs. the simplicity of EQing an Omni capsule, often resulting in both better sound and equal resistance to feedback than that cardioi that was going to solve you feedback issue. Move the speakers, treat the room! and keep the sound guys job do-able!

Talk about giving advice against my own best interests - besides cost effective elements for wireless systems, Bodymics sells small foam windscreens - pack of 10 - $10 including shipping, pack of 100 $59 including shipping. Have them in black and a yellowish cream color. - trying hard to find true cream ones that don't cost an arm and a leg.

Thanks for the recommendation on the windscreens. I agree in general with your thoughts.

I have a few ATs, and the rest are omnis. With a couple exceptions, I generally give favor to the omnis for the reasons you bring up. After I run out of those I find that certain actors can work very well with the AT boom and no windscreen. While I definitely try, I don't seem to be able to completely avoid the use of windscreens in every situation.