FAQ's

We continuously strive to maintain current and accurate lists of commonly used professional audio equipment; however occasionally we miss one out; please contact us, with the name and dimensions of your microphone and we will be happy to advise on product availability.

S-series Cable
Cable Length: 450 mm (15.748")
Cable Diameter: 3.0 mm (0.118")
Cable Type: Kabeltronic Mik-D (twin core)
Connectors: Neutrik NC3MX-B & NC3FX-B (gold pin)
Cable Jacket: Ultra Soft Black Flexible Polyurethane

Softie Cable
Cable Length: 400 mm (15.748")
Cable Diameter: 4.8 mm (0.189")
Cable Type: Mogami W2893 (star quad)
Connectors: Neutrik NC3MXX-B & NC3FXX-B (gold pin)
Cable Jacket: Ultra Soft Black Flexible PVC

The thinner the cable the less effect it has on the microphone shock mount. However the thinner the cable, the more fragile it is when used outside of a zeppelin windscreen. Therefore the recommendation is to choose the Softie Cable if it is to be used outside of a windshield (on a camera, with an InVision, etc); and to choose the S-Series cable if it is going to be used inside a Windshield basket.

One of the benefits of the Modular Suspension is that it now comes with our new lyre clips.

Lyres are available in three different types:
Universal; suitable for microphone from 19-25mm in width.
MKH; suitable for Sennheiser slab sided MKH microphones.
30mm; suitable for microphone 30mm in width or similar.

Universal Lyres are fitted as standard in all Modular Suspensions and Windshield Kits. MKH lyres are also supplied as spares, making it possible to adapt your suspension for many different microphones. The Lyre design is also present in many of our other products as well, such as the 'S'-Series and our InVision ranges.

Yes, but you will need to request an "old-style" filler strip. When we changed to the Modular Suspension, we took the opportunity to rationalise the Suspension to metric screws and metric hole spacing. That includes the holes in the filler strip.

The new bars are made from a reinforced glass polymer as used in the new Modular bracket. The purpose of this change is to make the bar more durable, and also less prone to wear and tear. The change has allowed us to use superior machined brass inserts for the fitting of lyres, Connbox & brackets. These brass inserts will be far less likely to strip or lock out, as was sometimes the case with the previous aluminum bars. These changes only apply to the Small and Medium Modular Bars (048404 and 048405). The Large Modular bar will stay the same for the moment.

These changes only apply to the Small and Medium Modular Bars (048404 and 048405). The Large Modular bar will stay the same for the moment.

No, because the mounting positions and screw holes are in the same position, they are backward compatible with modular systems. For the lyre clips, there are now square pockets in place of the original grooves that the lyres fit into. For new bars the lyres will no longer require adaptor "feet" to fit into the bar grooves. If using a new bar, it may be necessary to take the "feet" off.

In the case of pre-modular systems, where the hoops/clips attached to the end of the bar, this new bar will NOT be suitable. In this scenario in addition to a new bar, upgrade lyres will need to be purchased, either Universal (042223) or MKH (042227), removing the feet to fit the bar.

The Modular suspension can be set up in a wide variety of ways, and the numbers identify the various hole positions (and even the hoop directions). This makes it simple to reset a particular configuration - and also to explain to others (including Rycote) how it is set up.

Windshields allow the entire microphone to be suspended in a protected environment. This gives the ultimate in wind-noise suppression. Softies are a simpler, slip-on design which, though still very effective, are primarily aimed at those for whom robustness is a priority.

Yes. However, as you add more covers - even Rycote ones - you must expect some reduction of sound quality (mostly HF), but this may well be quite acceptable compared to wind roar.

Wind speed figures are averages over a certain time; whereas, what ruins a recording is the momentary peak that causes a "blast" - and wind can be a fairly steady blow from one direction, or turbulent gusts from everywhere. The criteria for "noise" also vary with use. For music one "putter" of wind could be very annoying, but for a gritty news report in a storm, one only cares if it is intelligible. So, correlating effectiveness with wind speed is all but impossible - but with the right mic, the right user, and the right Rycote successful recordings have been made in full gales.

Foam windgags are OK (though not very efficient) by themselves but they work on a different principle to a cavity windshield. Fitting them inside a Rycote makes the basket less effective.

The size/efficiency of a windshield is largely dictated by physics. For similar types of structure, a bigger windshield will always suppress wind better.

Yes, please visit the spares and accessories segment of our website and browse our selection. Whenever possible, we do try to be able to provide spare parts for older versions of our products; however, if you have products that are very old we cannot always guarantee this.

Don't worry this is a common occurrence. Please visit the spares and accessories segment of our website and view the 'Expolded Diagrams' section, which should have many of our spare parts listed, along with their part numbers.

The flexible PVC used for the filler strip can become deformed or sticky on its surface. Make sure the white plastic washers are in the correct positions and that the strip is not damaged. Wipe a trace of silicone oil (WD40 or similar) onto the sliding surfaces.

It is possible to replace the removable end caps. However, due to the manufacturing process, sadly we are unable to make repairs to damaged Windshields.

Both Softies and Windjammers are supplied with a Hair Brush, customers often think that we are joking by including this; but it is actually very important to keep the synthetic fibers as free from tangles as possible to ensure the best possible performance from our products.

Please click here to see our Care of your Windjammer guide.

Softies should be dry brushed thoroughly to remove as much dirt and debris as possible, and to remove any matting that may occur. You should never submerge your Softie in water as this may damage the product.

The Windjammer material is already treated with a very fine layer of Scotchguard, but adding any further quantities can result in a crackling noise being heard. Water repellents may also seriously degrade the HF transparency of the backing, so we really would not recommend it.

S-series Cable
Cable Length: 450 mm (15.748")
Cable Diameter: 3.0 mm (0.118")
Cable Type: Kabeltronic Mik-D (twin core)
Connectors: Neutrik NC3MX-B & NC3FX-B (gold pin)
Cable Jacket: Ultra Soft Black Flexible Polyurethane

Softie Cable
Cable Length: 400 mm (15.748")
Cable Diameter: 4.8 mm (0.189")
Cable Type: Mogami W2893 (star quad)
Connectors: Neutrik NC3MXX-B & NC3FXX-B (gold pin)
Cable Jacket: Ultra Soft Black Flexible PVC

The thinner the cable the less effect it has on the microphone shock mount. However the thinner the cable, the more fragile it is when used outside of a zeppelin windscreen. Therefore the recommendation is to choose the Softie Cable if it is to be used outside of a windshield (on a camera, with an InVision, etc); and to choose the S-Series cable if it is going to be used inside a Windshield basket.

The 3dB point is indeed at 60Hz (or very close to that).

Wind noise can certainly go up as high as 200Hz - even higher. However the spectrum is heavily biased towards the extreme LF  so most of the energy is at extremely low frequencies. A good windshield and jammer will keep the noise low unless the wind is very strong, but sometimes the ideal windshield isn't available or can't be used - on top of cameras for example.

The HPF on a mixer can be used in addition to the Tac!T but the crucial point about all tilted-spectrum signals is their ability to overload front-end stages and input transformers. Filters that come later in the audio chain can do nothing about this problem. That's why steep cut filters in microphones, and in-line filters such as the Schoeps Cut 1 and the Tac!T are useful tools. Front end mixer filters can only be second order (12dB/oct) at best.

I'd love to agree:} But I know that ~no~ suspension can isolate properly below the second or third harmonic of its resonance. Thus even the best suspension (and the lyres are ~very~ good) will pass LF handling noise below about 40-50Hz - the exact frequency depends on the rig. Thus some really low handling noise will get through. It depends on the mic and the preamp bandwidth how much, but unless the LF bandwidth is severely compromised it ~will~ happen. A good HPF prevents this completely.

It certainly isn't useless - particularly for the large array of audio kit that doesn't have ~any~ LF tailoring at all. For those that have mics or mixers with adequate bandwidth shaping then the Tac!T is unnecessary - but the purpose of designing it was because there ~is~ more and more equipment that will benefit by its use. As to going wrong... well it is a hardwired piece of high-grade surface-mount electronics and has a similar MTBF as any XLR lead.

I would entirely agree. Hence the use of a 60Hz knee. It ~doesn't~ get rid of all the windnoise in those scenarios or dump all the bass. What the Tac!T does do is remove almost all the risk of muting overloads caused by infrasonic signals while still allowing you to hear plenty of natural LF sound.

In the "bad old days" mics and preamps rarely had much sensitivity to very low frequency sound but with the newer transformerless output mics the extreme LF, say 10Hz, can be of the order of several volts in windy conditions or during shaking. Very few amplifier inputs can cope with signals of this level without limiting. A saturated amp stage passes no signal at ~any~ frequency. Hence Schoep's LC60 and 120 for the CCM range ... and the Tac!T.

This is something we do not normally recommend. Most standard microphone designs fitted side by side will severely reduce the free air space between capsule and windshield, which is essential for good windnoise suppression. There is also a risk of the microphones crashing against the windshield. Slender single shank MS designs can be used in Mono windshields and the small "compact" or "remote capsule" microphones can be fitted into Mono Extended Ball Gags, where a small envelope has a priority over the windnoise suppression levels.

We do make a Windshield for "compact" or "remote capsule" microphones in an XY configuration. For standard designs of microphone and short shotgun types, an XY configuration windshield would be the size of a beach ball, and impractical.

Currently we do not have lyres for stereo suspension, however in the future we do wish to extend our Lyres to stereo.

Creaking is often a sign of a damaged basket. The joints can split after long use and as the separate parts move you hear a creak. Take the windshield off and check it very carefully.

Rattling is usually associated with metal parts moving. Listen to the microphone - no suspension, just in your hand. Tilt it and make sure it has no loose screws. Then check the XLR connector. In some cases it is also necessary to tape over switches on the microphone body and the joint between mic & XLR, as these areas can render a windshield useless sealed off.

Make sure everything on the suspension is fixed correctly and the screws are tightened. Check that the cable is not touching the windshield anywhere. Check that you have a high pass filter in circuit somewhere.

You want the bass but you do not want the infrasonic signals that cause severe limiting in the preamplifier. Many microphones have their own permanent in-built HPF, some have a switchable one and some rely on you fitting one elsewhere. For microphones on poles, you have to start to roll-off the sound below about 60Hz.

When it's cold most cables become much stiffer and can conduct a lot of mechanical noise. Have you got a Connbox fitted? Connboxes use a very thin, lightweight cable to provide maximum isolation.

The 3dB point is indeed at 60Hz (or very close to that).

Wind noise can certainly go up as high as 200Hz - even higher. However the spectrum is heavily biased towards the extreme LF  so most of the energy is at extremely low frequencies. A good windshield and jammer will keep the noise low unless the wind is very strong, but sometimes the ideal windshield isn't available or can't be used - on top of cameras for example.

The HPF on a mixer can be used in addition to the Tac!T but the crucial point about all tilted-spectrum signals is their ability to overload front-end stages and input transformers. Filters that come later in the audio chain can do nothing about this problem. That's why steep cut filters in microphones, and in-line filters such as the Schoeps Cut 1 and the Tac!T are useful tools. Front end mixer filters can only be second order (12dB/oct) at best.

I'd love to agree:} But I know that ~no~ suspension can isolate properly below the second or third harmonic of its resonance. Thus even the best suspension (and the lyres are ~very~ good) will pass LF handling noise below about 40-50Hz - the exact frequency depends on the rig. Thus some really low handling noise will get through. It depends on the mic and the preamp bandwidth how much, but unless the LF bandwidth is severely compromised it ~will~ happen. A good HPF prevents this completely.

It certainly isn't useless - particularly for the large array of audio kit that doesn't have ~any~ LF tailoring at all. For those that have mics or mixers with adequate bandwidth shaping then the Tac!T is unnecessary - but the purpose of designing it was because there ~is~ more and more equipment that will benefit by its use. As to going wrong... well it is a hardwired piece of high-grade surface-mount electronics and has a similar MTBF as any XLR lead.

I would entirely agree. Hence the use of a 60Hz knee. It ~doesn't~ get rid of all the windnoise in those scenarios or dump all the bass. What the Tac!T does do is remove almost all the risk of muting overloads caused by infrasonic signals while still allowing you to hear plenty of natural LF sound.

In the "bad old days" mics and preamps rarely had much sensitivity to very low frequency sound but with the newer transformerless output mics the extreme LF, say 10Hz, can be of the order of several volts in windy conditions or during shaking. Very few amplifier inputs can cope with signals of this level without limiting. A saturated amp stage passes no signal at ~any~ frequency. Hence Schoep's LC60 and 120 for the CCM range ... and the Tac!T.