Buying Shock Mount was one of the best investments I ever made. I highly endorse it.
Does it matter what kind of shock mount I get?
I have an AT2020 Condenser Microphone and I need something to hold it on my microphone stand. Shock Mount (I am not going to use the desktop stand). I don't know if the size of the mount matters or what. I'm tempted to buy a spider mount but I need to know if it'll work. Help?AT2020:http://www.microphonereviews.com/images/content/product/audio-technica-at2020/large/AT2020_3.jpg
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Detailed Shock Mount reviews
A nice shock mount for that mic will cost more than the mic itself. You might just try using it without a shock mount first – you might not need it. It comes with a nice desktop stand and as long as you are not tapping your fingers on the desk while you are recording, you should be ok. The manual for it is here:http://www.cadaudio.com/support.php
It’s not that air shocks break the mounts, it’s how much air is in the shocks at failure. If not enough air (low rider) is in the shocks then there is absorption to slow down the car from bouncing up and down so you have the weight of the car hitting the mount. Yes that will cause the mount to fail. If you fill the shock to its capacity, then you’re in for a stiff ride.
You need a patch. Maybe 3 – 4 inches should do. To make the patch you need a template. It all takes several steps. To make the template you need paper and tin. Tin from a soup can works okay. This may take a couple attempts to get something you feel good about but you need to cut the tin (not yourself) so that it matches the shape of your final patch. Use paper first to make a pattern for cutting the tin in the correct (flat) shape by pressing the paper against the surface you want to make a patch for. Use a pencil to make an outline. Next overlay the paper pattern onto the tin to mark it then cut the tin. Next bend and hammer the tin over the section needing repair to get it into the shape your patch needs to be. Now you have something you can set on a workbench and fashion your patch from. The rest you’ll get. Don’t feel bad about not having your original weld attempt not hold. Lot’s of things were going against that but a patch should work.
Primarily prevents sound from being transferred from the floor through the mike stand to the mike , but also it helps prevent mike damage if the mike stand gets bumped. It’s a good idea if you want to keep the vocals separated in the mix. Some recording engineers think a little “Mike leakage” makes the sound fuller.
Since you’re trying to eliminate mechanical vibrations, you want to use a shock mount with the microphone it was designed for. Otherwise, it might cause more vibration problems than you have without any shock mount at all.For instance, if the shock mount was designed to damp the vibrations of an 8 ounce mic and you put a 6 ounce mic in the mount instead, the shock mount could actually put more vibration into the lighter mic. Similarly, if you put in a heavier mic (than 8 oz), it might not damp enough vibrations to solve all of your problems.This is one place you want to go with a system (mic & shock mount from the same mfg) for best performance.
Shocks take the energy out of the bouncing car springs (which bounce when you hit a bump). When shocks are bad, they no longer resist motion (so the car continues to bounce longer). You can test the shocks by leaning on the car and watching it bounce (it helps to weigh a lot).Shock mounts usually don’t go bad. However, it is possible that the shock bolts are stripped or that the mounts are falling apart. In which case, the shock will not snugly mount. You should be able to get under the car, wiggle the shock, and see if there is any undue play.There are sometimes stabilizer bars with rubber bushings that creak. The bushings, themselves, are relatively cheap, and can somewhat easily be replaced. Please see the link below.
Sorry to hear of your problem.I have not personally experienced this problem, but I’m guessing you drive your car pretty hard, and I do recommend that you should also check your rear subframe mounts (the sheet metal where the mounts attaches) for cracks at the same time you repair your rear shock tower. Tears/cracks are not uncommon.If you haven’t done so, I also would recommend you buying this cheap reinforcement (part# 51 71 8 413 359 – http://www.bavauto.com), and perhaps even a rear shock tower brace/bar.I would guess welding on the shock tower shouldn’t be too expensive because it’s easily accessible (guessing $200 perhaps?), but welding in the subframe mount area will (10x more easily) – if you’re unlucky enough…
Trust me just go buy 2 new shocks, they are6 years old
1.) Determine the polar pattern of your mic. If it is an omnidirectional (omni) mic, skip step two (as positioning doesn’t really matter- it will pick up in all directions).2.) If it is a cardioid or hypercardioid mic, locate a manufacturer’s label on the outside of the mic. This is the side you want facing the sound source for the best result.3.) Attach the shock mount to your mic stand. Don’t worry that it isn’t assembled yet; you can assemble it and put the mic in once it is affixed to your mic stand. Don’t plug in the mic cable yet- leave that to be your final step.4.) Now that you know how to orient the mic, place it in the shock mount hole and secure the mount by catching the mount ropes around each notch so the mount is secure to its frame. The mic should be secure enough to remain upright in the mount. See the link below for a picture.5.) If you want extra security, the rubber band is a “safety” device to provide extra support. You can put it on by attaching it to any two opposite poles on the shock mount and slipping it over or under the mic (and position it so it feels secure.)6.) Plug in the cable, turn on your phantom power, and have fun recording!(Note: if the enclosed link isn’t the right picture, do an image search for your mic’s band name and you should be able to find a picture of it assembled in its shock mount.)
Yes. The values that Jesus praises in the Sermon on the Mount would have been considered weak and unworthy of being practiced.
I’d make a gusset out of a piece of plate as the other guy suggested.One thing that MUST be kept in mind is that frames are heat treated. An average welder usually doesn’t posses the knowledge to fix this with out eventual cracking occurring. Much care is needed in planning each weld bead so that it doesn’t destroy the frame.
my answer is try to look around on this site http://www.autozone.com/ it’s help
check out at Amazon there are many good product at good pricehttp://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=shock+mount&x=0&y=0&tag=klnprk-20Also check out at Ebay http://rover.ebay.com/rover/1/711-53200-19255-0/1?ff3=4&pub=5574865779&toolid=10001&campid=5336440665&customid=klnprk&mpre=http%3a%2f%2fshop.ebay.com%2fi.html%3f_nkw%3dheadphone%26_sacat%3d0%26_odkw%3dheadphone%26_osacat%3d0%26_trksid%3dp3286.c0.m270.l1313
When mics are attached to mic stands with say a standard clip, the vibration from the floor that the mic stand is on can/will vibrate up the stand, to the mic and into the mic’s diaphragm causing unwanted noise when recording. The elastic on a shock mount separates the mic from the stand and therefore creates a separation between the two — there is no direct connection or attachment between the mic stand and the mic itself. Which, theoretically, will eliminate noise caused by vibrations from the floor. For example, a shock mount can be especially useful for people who tap their feet when they sing.
An external mic will improve your audio capture ONLY if the camcorder (or audio storage equipment) has manual audio control.Since you did not tell us which Sony camcorder you are using, we have no way to know if it has “MicRefLevel” rudimentary control in the menu. “Normal” for normal audio, “Low” mic gain for LOUD audio capture.It is also possible that your Sony – like my HDR-HC1 – has fairly granular audio input/mic gain control in the menu… or, like my HDR-FX1, has manual audio control on the outside of the camcorder.If there is no audio gain control, or if you are not using it, there is no mic in the world that will improve your camcorder’s audio capture.Presuming the audio is loud, I would much prefer stereo audio. Audio Technica Pro24, RODE video stereo mic and the NRG SA-800 would be at the low-end. I use an Audio Technica AT-825… Many times, If I am in the right place, I find the camcorder’s built-in mics are acceptable – but manual audio control is a must – without that, the sound will be very muddy and can have lots of “static” (that is “peaking” because the auto-mic gain circuitry is being overwhelmed by the too-loud audio.Shotgun mics are typically mono – unless you get the high end stereo shotgun mics from Sennheiser or Audio Technica. I do not believe you need a shotgun mic – the audio pick-up pattern for shotgun mics is generally what is in front of the camcorder. At a loud concert, this sort of audio discrimination is not required.If you are convinced you need a new camcorder, I think the least expensive will be the Sony HVR-A1U. Next up are the Canon XHA1, Sony HVR-Z1/Z5/Z7 and the Panasonic AG-HVX200.You *could* go with a consumer cam (like a Canon HV40) or a prosumer (Canon GL2) that uses a 1/8″ audio input – but use an XLR adapter (juicedLink CX231 or BeachTek DXA-6).BUT, you have not provided enough information to determine if you even need a new camcorder.
You can use the part from another camaro as long as it is 1982-1992. All third generation camaro parts are identical.
I trade with Honda Direct Line. http://www.hdlparts.com/fiche_section_detail.asp
The people were not prepared. These were ancient Romans who probably thought it was a message from the gods. As for what they did about it, nothing, which is why they’re all dead and the city of Pompeii was preserved so well under volcanic ash
Yes. It’s the bracket holding the microphone thas absorbs the shock.