Many thanks for the tip. That would be a lot cheaper than the ones from Rycote.
But do they shield the same?
Have you tested them with the CM3 or others?

Yes, I've used them a few times with the CM3 outdoors. They do a good job in light breezes. I used them for an outdoor video last summer when a thunderstorm was approaching, and you could definitely hear the wind noise in the recording. Rycote or Cinela blimps would be better, but much more expensive.

Great! Glad you enjoy it!

You can use anything with an appropriate screw and then there are also adapters - I mount some small LCD lights on mic stands sometimes, with an adapter... so anything is possible.

Any camera tripod/holder would be appropriate.

I tested the Movo WSTT50 a couple of years ago, intrigued by many positive comments: https://drbadphil.com/small-windshields

Cheers,

Roland

Again very useful and informative test. I am surprised how well the Rode WS8 performs...
But Rycote Baby ball and its fur seems the way to go for such a set-up, for optimal wind protection. CM3/4 are VERY sensitive for wind (and handling - vibrations). But then - the wind protection costs you more than the mic itself.

That MOVO sounds practically useless to me in that test. WS8 is the way, I guess.

For my own use - placing spaced omnis tail to tail inside Rode Blimp with deadcat might work even better (and cheaper) than the Rycote baby balls; I guess - thanks for all your practical tests:
https://drbadphil.com/omni-mic-pair-in-a-single-blimp

Doesn't work for CM3s and other cardioids, though and also for music - I would probably prefer the normal, front facing AB - but also - if I will use the omnis inside blimp it would mostly be for ambient sounds recordings and that must be completely fine to place them like that...

A cool "hack", thanks!

Certainly better than the slip-on furs, but the BBGs are not 'optimal', either in terms of wind protection (obviously they do not fully enclose the mics) or transparency. It's all a question of what compromises you want to make with wind protection, with weight, size, robustness, transparency and cost all being key factors. I think cost seems a key thing here, which is why I have rather kept out of this discussion, but when I want to record with ORTF outdoors, these are the two rigs I use: they fit in a modest backpack, but I can't pretend they would fit in a pocket!

Cheers,

Roland

THX for your answers.
really interesting contributions. it's impressive what they do for top shots!

WS8 could be interesting for me, cheaper thant the rycote but probably less protective. If it's too windy, I probably won't take any pictures for the time being.

In any case, I'll first try it out of my window with the CM3 without wind protection. There's a tall tree there where the birds chirp in the morning. I'll also be able to estimate the influence of the wind.
At the moment dont like to use installations too large.

Would a tripod like this be suitable? It's light and easy to take with you. It doesn't need any special decoupling against ground noise? I have a good second-hand offer:
https://www.walimex.ch/product_info.php?products_id=433

A tripod could work; lots of people use light stands. The tripod/light stand itself doesn't need decoupling to eliminate ground noise, but you do need to put your CM3s into shock mounts of some kind to isolate them. Line Audio sells shock mounts for this mic, which is probably your safest bet as these mics are so light that all but the thinnest mic shock mounts from Rycote etc. are too stiff and won't help.

Just to use x6 for ambient field recordings, you don't really need a tripod, unless recording really long atmospheres... you can simply just hold it in your hand... maybe some grip, like this: https://www.cafr.ebay.ca/itm/176056016846
and if you need - you can then screw this to any mic stand... that tripod you linked is also useful, I guess. But I don't know...

I only ever used mic stands and or mini tripods when I recorded outdoors - or gorilla pods:
https://www.canon.co.uk/store/canon-...-kit/3466V161/ ( https://www.youtube.com/watch?v=hfCzxCsTKus - watch it - but the test between Rycote grip and Joby gorilla pod is useless - you don't record sound like that -. unless booming a dynamic dialogue scene... and even then... not so wild...) or I used nothing - the majority of time it was just handheld recorder or Rode blimp... sometimes Blimp on a boom pole - but rarely for ambient recording - just the Rode Blimp with deadcat mostly for that. Sometimes also screwed to a mic stand when recording some musicians outside.

So I guess - I recommend first using nothing - just a handheld recorder, then perhaps a gorilla pod as a versatile attachment device that also serves as a small tripod to use with the recorder only and if you don't want to hold the device in your hand - a simple grip (maybe even that fancy Rycote with a shock mount, why not) and finally the blimp for external mics (both of those you can attach to a mic stand (or boom pole or tripod) when needed)

With proper thread adapters you can attach anything to anything.

Depends what you plan to do mostly...

A tripod will work! Most of my recording is done outside, and I am increasingly using ball-head camera tripods instead of lighting stands: much greater stability (no point having great wind protection if your little Manfrotto light stand is wobbling around in the wind), much better adjustability of legs for uneven terrain, and much greater robustness (e.g. legs in the sea, stream, snow, mud etc.). With a good tripod and technique, there's very little difference in terms of set up time. Admittedly, heights much above head height are difficult with camera tripods, but then, for those rare times when such height is needed outdoors, a lighting stand at extreme heights is far wobblier than a boom pole fitted to a camera tripod: https://drbadphil.com/if-only-boom-p...ould-grow-legs

Cheers,

Roland

I beg to differ: when recording sound effects, ambiences etc., it is almost always better to keep the mics steady, avoid vibrations from your muscles (esp. if you don't want to cut all the low-frequencies), clothes rustling, breathing, stomach gurgling etc., let alone getting cramp, having to stand/crouch in an awkward place, being more visible to whatever you are recording etc. Even if the wanted recording is short, often the waiting for that to happen is long. The only time I have recorded hand-holding the mics in the last year has been inside a railway carriage, for a sound library I am working on, where my arms provided useful extra shock-mounting.

But, yes, you are right it does come down to 'Depends what you plan to do mostly...'. Only the OP knows that!

Cheers,

Roland

Thank you very much. These are really great tips. I can save myself the tripod... A grip or gorilla pod like that would be fine.
I already have everything else. A table stand for a camera and a small microphone stand from the amp pick-up...

Thx, i found this :-)
Line Audio CM4 - shockmounts

Many thanks for the great tips.

As described in the opening post, I would like to sample background noises for my songs, or noises from my everyday life, region. I don't need long recordings for this, but high-quality ones (probably 30 seconds at most, usually a few seconds). I will try without tripod first.

As I always have the feeling that something is missing, a friend gave me the tip about the noises.
Here my first song, just guitar and voice:
https://soundcloud.com/nordliecht

Yes, I can agree, but don't take it out of the context of the whole reply.

I didn't mean one doesn't need a tripod at all, just for his specific case - going on soundwalks, catching sounds here and there... to start doing that - you don't need a tripod immediately for the use with the "handheld" recorder.

I would also get something like gorilla pod first in his case - something really portable and versatile.

I was also judging from my experience of casual catching sounds with the "handheld" recorder, when I simply held it in my hand steadily and calmly. When I used the external mics - of course I used the shock mounts, blimp, etc.

It is of course better to put the recorder on something for many reasons, but when just going around, having the "handheld" recorder - you don't need to carry all the other baggage if the point of the "handheld" is exactly what its name says...

It is indeed an exercise of "Zen-like" patience, calmness, stillness and endurance when recording something longer...

For my own trips I only carried around a miniature tabletop tripod - so I didn't place the recorder on the backpack or on raw surfaces and could aim it, when I didn't hold it in my hand. And later - gorilla pod. When using external mics - the handheld blimp that I sometimes mounted on a mic stand or a tripod...

But for the quick and simple sessions - just a miniature tripod (like this: https://joby.com/us-en/handypod-clip...n-jb01838-bww/ ) and a recorder. Wind protection always, of course.

Also - tripod is indeed better in uneven terrain - so one could place it better as some mic stand, which, on the other hand, is completely useful in the streets and flat level surfaces - and if one has it already, no need to invest in a tripod immediately.

So, I do agree with you in general, of course and also breathing, fabric noises, etc. should be considered, but for the OP, I guess he could go around hunting sounds just with the recorder first and use what he already has for the stand... and in his shoes, I'd invest first in the gorilla pod.

The keys here - portability, ease of use, versatility in different scenarios, cost.

Well it sounds as if you are more in tune with the OP. Since my Sony M10 died I don't have an handheld recorder and don't miss it. So I'll bow out with good grace! Best of luck to you both.
Cheers,
Roland

Your input was invaluable and I am grateful for all your suggestions in the many threads around here and tests, so we don't need to do them ourselves (and likely not so well as you did).

I was only thinking of a casual recordist, who wants to catch interesting sounds on the go...
Having too much accessories can be even counterproductive then...

A gorilla pod is very useful, anyway (and cheap, too): https://joby.com/global/gorillapod-500-jb01502-bww/

I am deeply grateful to everyone who responded to me. I have received so many tips and support. The subject interests me, as does everything to do with clay. Even if I might not use everything, I can still refer to it here if I have something to do.

I always like to start simply. Only with the most necessary material, which I also have ready quickly. Otherwise I'm less willing to start at all.

It's also a question of time for me to record sounds alongside work, making music, family and further education. But when I realise that the sound needs to be better, I'll go to the next level (tripod, better wind protection, etc.).

I've memorised the Gorilla Pod and Rycote windscreen...

Regardless of your setup, excellent wind protection is needed. The best microphones and recorder will sound terrible when ruined by wind noise. Foam windscreen's alone aren't adequate. Checkout Rycote options. For SDC's consider a Rycote Baseball plus 'dead cat" furry cover.

I bought this case. fits perfectly for the x6! it also has space for the essentials. You can attach it to the belt :-) Highly recommended!
https://www.lowepro.com/de-de/gearup...i-lp37347-grl/

I took my first recordings in a small village in Ticino (Switzerland). Rain and a fontain. I would like to briefly describe my experiences here and, of course, show the photos to get any feedback! it's really incredible fun!

https://soundcloud.com/nordliecht/sets/fieldrecordings
https://freesound.org/people/Nordliecht/

This is what my setup looks like now:
1. Tascam Portacapture x6
2. 2x Audioline CM3 microphones with simple windscreen
3. GoPro Volta as battery and hand-held mount
4. tripod for placing on the floor.

You see my setup here:
https://gearspace.com/board/picture....ictureid=17831

I made the recordings of a fountain and a rain in the village with all the microphones together. And some editing (panorama and EQ) in Cubase.

best regards, Stefan