The main difference between
popscreens and windscreens is the degree of their efficiency. Windscreens are
more efficient than popscreens at reducing disturbances due to air motion, and
they are generally used outdoors. Popscreens are more frequently found indoors,
where they can efficiently reduce a transducer's sensitivity to breath plosives
and microphone boom movements without impairing the sound quality. |
| Choice
of Screen: | | A
distinction must be made between simple foam windscreens and basket-type or hollow-sphere
foam-type windscreens. For
use with pressure (omnidirectional) microphones, both acoustic foam types and
hollow-sphere foam windscreens are appropriate. When compared to basket-type windscreens
they have a less detrimental effect on sound quality. Cardioids
and other pressure-gradient transducers, on the other hand, are best protected
when their sound inlets are kept within an enclosed air chamber. Basket-type and
hollow-sphere foam windscreens accomplish this; solid-foam types are less effective.
Types with a fur-like covering (such as the W 20 R 1) are especially
efficient. This kind of surface does not create any air turbulence and, at the
same time, it reduces whatever turbulence may already exist. |
| Adverse
Effects on Sound Quality: | | In
general, when comparing two windscreens which are equally efficient, the smaller
one will always have a greater influence on the sound. Conversely, if two windscreens
have the same size, the more efficient one has the greater adverse influence on
sound quality, usually impairing a microphone's frequency response as well as
the polar pattern of directional microphones. It is thus advisable to select a
windscreen that is no more efficient than necessary, and as large as feasible.
Acoustic foam windscreens
generally do no more harm than to cause some roll-off at high frequencies. This
can be corrected either through electronic equalization or by choosing a brighter
microphone capsule (e.g., MK 3). Hardshell basket windscreens, however, produce
irregularities in high-frequency response (depending on the type of capsule) which
cannot be easily compensated for and which color the sound noticeably. With
pressure-gradient transducers they also reduce low-frequency sensitivity and directivity. The
use of hollow-sphere foam windscreens on pressure-gradient transducers leads to
much less roll-off and coloration at high frequencies, but also reduces low-frequency
sensitivity and directivity. | |
Influence
of the Microphone Type: | | Omnidirectional
microphones (pressure transducers) are especially resistant to the effects of
wind. Among directional microphones (pressure-gradient transducers) the speech
types, with their attenuated low frequencies and stiffer diaphragms, are also
somewhat less prone to wind noise. Since
the level of low-frequency energy in wind noise is very high (usually with a large
infrasonic component), a mixing console or recorder input can be overloaded, especially
if transformer-coupled, making the microphone seem to be more susceptible to audible
wind noise than it actually is. In
such cases the active low-frequency CUT filter is particularly helpful. |
| Suggestions: |
| An
omnidirectional microphone should be used whenever possible, since its inherent
sensitivity to wind is about 20 dB-A lower than that of a pressure-gradient
transducer. The combination of the MK 3 (or MK 2 S) capsule with
the foam windscreen W 5 or W 5 D and the CUT 1 bass filter
is highly recommended. The
additional variable low-frequency roll-off of the CUT 1 filter is advantageous
here, since the perfect low-frequency reproduction of pressure transducers may
lead to strong low-frequency contributions from undesired ambient noise other
than wind. Due
to its relative insensitivity in this frequency range, a pressure-gradient capsule
would be less likely to pick up such noise at audible levels. With
directional capsules, a combination of the basket windscreen W 20 R 1
and the CUT 1 filter represents the optimum in efficiency-versus-size. |
|