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  #16  
Old 07-01-2015, 06:32 AM
Ty Ford Ty Ford is offline
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Quote:
Originally Posted by MikeBmusic View Post
They are designed so that the voice output doesn't go out to the room and then reflect back to the back/side walls and then into the mic.
That's why they don't work particularly well for an acoustic guitar - more of the sound goes 'around' the reflection filter.
The human voice doesn't project like a bazooka or flame thrower. It comes off of the body and face and head in a number of places and angles. Then there's the reflection from these devices.

I always chalked these up to wishful thinking.

Regards,

Ty Ford
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  #17  
Old 07-01-2015, 01:38 PM
j3ffr0 j3ffr0 is offline
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These foam screens are junk. I had one once before I knew better, and it didn't do anything useful -- just slightly colored the sound and hung from the mic stand like the bulky albatross it was.

Far better for a mobile/temp solution would be two or three fiberglass panels like those sold by GIK acoustics. Three of the 242 or a couple of the free standing panels would be a far, far better bet.

http://www.gikacoustics.com/product/...coustic-panel/

I have my room treated with a few traps, and then I'll strategically position two or three of the 242 panels that otherwise stay in the closet when actually recording. Good luck!
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  #18  
Old 07-01-2015, 06:47 PM
ukejon ukejon is offline
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Quote:
Originally Posted by Mobilemike View Post
This. I've tried several of these and never been impressed.

Another issue is that the foam on these will do a pretty good job absorbing high frequencies, but isn't thick enough to even begin to absorb mod or low frequencies. So the highs go away and everything else builds up and your recordings end up sounding muddy and tubby.

Real room treatment is key and you can DIY it not too expensively. Get some Owens Corning 703 insulation and cover it with whatever breathable fabric you like and hang it in your room. Will work a lot better.

-Mike
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  #19  
Old 08-21-2015, 03:31 PM
mark neel mark neel is offline
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Default this is why i love this forum

I was thinking today about getting one of these to try out, saved myself 100 bucks (though I probably would have built my own for more like 15 bucks) there is some funk reverb coming from somewhere in my room and I will be better served taking a few hours and finding it :-)
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  #20  
Old 08-21-2015, 03:33 PM
Ty Ford Ty Ford is offline
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amen! plus one of those "shields" may not have done the job, or it might have created new problems.

Regards,

Ty Ford
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  #21  
Old 08-21-2015, 11:03 PM
rockabilly69 rockabilly69 is offline
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Quote:
Originally Posted by Bob Womack View Post
One of the recording suites in our complex has a vocal booth with a window that is too large, causing reflections. We bought a good reflection shield and tried it out in an effort to improve things. We put it up and did A/B recordings. In the unanimous opinion of five of us engineers, the shield simply added it's own objectionable reflections.

Bob
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  #22  
Old 08-25-2015, 05:33 PM
sonicland sonicland is offline
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I've been using an SE Reflexion shield for my vocal tracks recently and found this thread very interesting. Decided to do a quick A/B. Mic is a CAD E100S (considered a pretty good mic, and very quiet), into an Apollo Twin, into Pro Tools 11. Not a bad signal chain for a home studio. I put up a simple karaoke track and set up a couple vocal tracks, then recorded a pass with the shield and without. I know this isn't terribly scientific but after reading the experiences in this thread I expected to hear some difference. I couldn't tell the difference at all! No difference in tone, no difference in space, nothing that I could discern at all. Begs the question: so it doesn't do any harm to my sound but does it do any good?

I don't doubt other experiences, we all have different gear (and ears) and we record in different spaces, but I just don't hear any difference so I think I may take it down, maybe get rid of it, maybe do some more experimenting.

One thing I've never liked (since I record all by myself) is that it's always in the way, it's really difficult to follow the levels on my monitor and such when I do vocal tracks. If I come to the conclusion that it's not helping, then I'll be glad to see it go.

FYI: In case you don't think regular people win all those contests we see, I won both the CAD mic and the shield in last years MF mic giveaway, so nothing to lose by selling it. The CAD mic is a keeper for sure, it really sounds fantastic.
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  #23  
Old 08-26-2015, 07:57 AM
Ty Ford Ty Ford is offline
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OK, now let's think about this in a different way.

I'm presuming that most of our comments have to do with cardioid mics.

What, if any, are the implications if the mic used is omni or figure of eight.

Would the rear lobe of a figure of eight hear even more of he closeness of the shield or would it more effectively block sound from the rear lobe, thus making it useful in certain situations?

Would an omni become less omni in a similarly beneficial way?

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Ty Ford
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  #24  
Old 08-27-2015, 12:42 AM
Andy Howell Andy Howell is offline
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I use my Reflection filter using an Omni pattern - the best fit for me and consistently sounds good. The room it is in is also acoustically treated. A filter alone won't combat a really lively room!
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  #25  
Old 08-27-2015, 06:20 AM
Ty Ford Ty Ford is offline
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Andy,

And you're not bothered by reflections from the shield?

Why choose an omni…and which one?

Ty
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  #26  
Old 09-08-2015, 07:26 PM
jim1960 jim1960 is offline
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Quote:
Originally Posted by Mobilemike View Post
Real room treatment is key and you can DIY it not too expensively. Get some Owens Corning 703 insulation and cover it with whatever breathable fabric you like and hang it in your room. Will work a lot better.

-Mike
I count myself amongst those who learned this lesson years late.

For anyone who's handy, this video shows how to build bass traps.
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