[Ray Thomas[_2_]]

Is anybody here using these that can comment on their effectiveness or
otherwise...they seem to be reasonably priced ..... but they may be
(presently ?) used more by the video/film people for location work than for
audio alone. They seem pretty versatile and suitable for a wide range of
mics.
Links to pics and background are here
http://www.rycote.com/products/full_...nsionLyres.php
http://www.rycote.com/products/full_...ar_suspension/
http://www.rycote.com/products/invision/

RT

[Ty Ford]

On Sat, 3 Jan 2009 00:04:04 -0500, Ray Thomas wrote
(in article ):

Is anybody here using these that can comment on their effectiveness or
otherwise...they seem to be reasonably priced ..... but they may be
(presently ?) used more by the video/film people for location work than for
audio alone. They seem pretty versatile and suitable for a wide range of
mics.
Links to pics and background are here

http://www.rycote.com/products/full_...pensionLyres.p

hp
http://www.rycote.com/products/full_...ar_suspension/
http://www.rycote.com/products/invision/

RT



very, very effective on the boom mic.

Regards,

Ty Ford


--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[Carey Carlan]

"Ray Thomas" wrote in
:

Is anybody here using these that can comment on their effectiveness or
otherwise...they seem to be reasonably priced ..... but they may be
(presently ?) used more by the video/film people for location work
than for audio alone. They seem pretty versatile and suitable for a
wide range of mics.
Links to pics and background are here
http://www.rycote.com/products/full_...dularSuspensio
n
Lyres.php
http://www.rycote.com/products/full_...dular_suspensi
o
n/ http://www.rycote.com/products/invision/

I'm running a pair of studio mounts (INV-7) on my DPA 4006 omnis and am
happy with the reduced LF noise I'm getting. They work.

[Scott Dorsey]

Ray Thomas wrote:
Is anybody here using these that can comment on their effectiveness or
otherwise...they seem to be reasonably priced ..... but they may be
(presently ?) used more by the video/film people for location work than for
audio alone. They seem pretty versatile and suitable for a wide range of
mics.

They work well, and a lot of the film sound guys use them. If you ask
the folks on r.a.m.p.s you will probably hear a lot of thumbs up regarding
the things.

The problem is, though, that like all isolation mounts, they are a tuned
system and the weight of the microphone is part of the tuning. If you
use a microphone that is heavier or lighter than the microphone the thing
is designed for, the effectiveness can be reduced a whole lot.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Ray Thomas[_2_]]

"Scott Dorsey" wrote in message
...
Ray Thomas wrote:
Is anybody here using these that can comment on their effectiveness or
otherwise...they seem to be reasonably priced ..... but they may be
(presently ?) used more by the video/film people for location work than
for
audio alone. They seem pretty versatile and suitable for a wide range of
mics.

They work well, and a lot of the film sound guys use them. If you ask
the folks on r.a.m.p.s you will probably hear a lot of thumbs up regarding
the things.

The problem is, though, that like all isolation mounts, they are a tuned
system and the weight of the microphone is part of the tuning. If you
use a microphone that is heavier or lighter than the microphone the thing
is designed for, the effectiveness can be reduced a whole lot.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Fortunately with the Invision series there are about 7 or 8 variants, and
Rycote has a 'look up your mic to get the right mount' service on their
website, so they seem to be tackling the mic mass compatibility issue head
on. However you make a good point about the suspension tuning factor, and it
appears to me that the mic cable weight/thickness/stiffness/compliance (plus
clamping it to the stand or mount to 'earth' any cable borne vibrations)
would be a significant factor here ? Rycote come to the party with their
Connbox...but while it's a reasonably elegant solution it does add another
set of cables, connectors and solder joints and possible RF intrusion, since
it's not all star quad...... the thinner tail of the two shown is lavalier
cable. More details he
http://www.rycote.com/products/full_...ionConnbox.php

As a general principle, is it worth using the thinnest or most flexible
cable as the final link in any mic/cable chain when it comes to the
suspension mounting, so as not to compromise either the 'mounting
compliance' or unwittingly providing a cable-borne transmission path for
floor and stage vibrations ? I believe the latter are far less of a problem
with omni designs compared to cardioid mics, as there are differences in the
diaphragm tensions which render cardioids much more susceptible to
stand-and-cable related vibrations.
RT

Ray

[Scott Dorsey]

Ray Thomas wrote:
"Scott Dorsey" wrote in message

The problem is, though, that like all isolation mounts, they are a tuned
system and the weight of the microphone is part of the tuning. If you
use a microphone that is heavier or lighter than the microphone the thing
is designed for, the effectiveness can be reduced a whole lot.

Fortunately with the Invision series there are about 7 or 8 variants, and
Rycote has a 'look up your mic to get the right mount' service on their
website, so they seem to be tackling the mic mass compatibility issue head
on.

Right. The problem is that people order one, then sooner or later they wind
up being used with a different mike. I know I have done it.

However you make a good point about the suspension tuning factor, and it
appears to me that the mic cable weight/thickness/stiffness/compliance (plus
clamping it to the stand or mount to 'earth' any cable borne vibrations)
would be a significant factor here ? Rycote come to the party with their
Connbox...but while it's a reasonably elegant solution it does add another
set of cables, connectors and solder joints and possible RF intrusion, since
it's not all star quad...... the thinner tail of the two shown is lavalier
cable.

If you use a flexible enough mike cable (and I recommend the Canare if you
are going star quad), you can make a little loop behind the microphone and
gaff-tape the bottom of it to the mike stand. This provides pretty good
isolation although maybe not enough isolation for a boom mike.

As a general principle, is it worth using the thinnest or most flexible
cable as the final link in any mic/cable chain when it comes to the
suspension mounting, so as not to compromise either the 'mounting
compliance' or unwittingly providing a cable-borne transmission path for
floor and stage vibrations ?

Yes. And it helps to have a couple two-foot lengths of subminiature star
quad cable around for this sort of thing.

I believe the latter are far less of a problem
with omni designs compared to cardioid mics, as there are differences in the
diaphragm tensions which render cardioids much more susceptible to
stand-and-cable related vibrations.
RT

I don't know about that, to be honest, since it's so hard to compare them.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."