> "Beta Zero" wrote in ...
>> (Trying to record a music band outdoors)
>>
>> Please give me some advice-
>>
>> I'm thinking of digitally recording an outdoor musical performance
>> in late June 2008, and I am worried that some microphones are
>> subject to failure, or at least an unusual performance of some kind,
>> if the microphones - or the wire hookups - sit around baking in the
>> sun. If the weather is in the mid 90s F, in the shade, and even
>> worse in direct sunlight, should I take precautions like shading the
>> microphones in the shade of an umbrella or parasol? Or am I
>> worrying about something that's not worrying about?
>
>Lots of microphones are used in direct sunlight in hot places.
In the olden days, microphones had membranous diaphragms of some kind,
and the way these things responded to vibrations, had a lot to do with
the frequencies transmitted. I figured that a 'hot' microphone would
produce a different range of sounds than a 'cold' one.
>If you are operating in harsh conditions, then use microphones
>that are made for field use. For example, dynamic mics are
>likely less susceptable to either temporary or permanent
>damage from ambient heat.
>
>> I won't have access to AC current, as I'll be running off batteries;
>> that also means there isn't going to be an amplifying system, and
>> the performers will just sit around strumming their strings, or
>> banging their drums, or whatever. I figured that decibel
>> alterations will be available to me during post production editing.
>> (Yes, there will also be some cameras around, but I don't want to
>> use their microphones as they may be around 30 or 40 feet away from
>> the performers.)
>
>You didn't mention what you are recording on/with?
An Olympus LS-10,. Will that work? It's on order. I understood that
you can plug 4 microphones into it. The software package is iListen
for an unexpanded Mac 'mini.' I am gritting my teeth for the nerve and
reserve to buy a Marantz, it's just that it is kind of spendy, so I
have to put that off for a couple weeks. Ditto with regards to the
microphones. But all the hardware has to be in my hands by mid-June.
>> Which microphones are best for this sort of situation? I haven't
>> bought them yet, and noticed that some microphones are very
>> expensive. My budget is $800 for microphones alone (at about $150
>> apiece) but I would like to divvy that up between two separate
>> recording systems,
I.e., two microphones per performer.
>> where each music performer has two microphones on stands, and
>> if the first system fails, the second system is bound to pick
>> something up.
>
>The old standby Shure SM57 & 58 will likely take the heat and
>they are cheap enough to have 100% backup on your budget.
At a hundred bucks apiece, 8 microphones would eat up the entire
$800 budget. I was hoping the secondary microphones - attached to
the backup recording system - could be in the $50 to $60 range.
Would that be a bad idea?
<snip>
>Note that there is annother newsgroup where field recording
>on battery power and with cameras is the "normal" setup.
>news:rec.arts.movies.production.sound I'd bet that there are
>some people there who have worked in extreme temperatures.
>If you ask you question there, suggest a little more technical
>details (like what you are recording on, etc.)
>
>Remember that there are outdoor summer music performances
>all over the planet, many without shade and melting mics is not
>something one hears much about.
Speaking of recording performers outdoors, I'm worried about the
whoosh effect from wind and light breezes rustling by the microphones.
Which brand of windscreen do you think works best, or fits the best,
when it comes to the Shure 57 or 58 microphones?
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