-microphone shock mounts-

-as of [29 APRIL 2024]

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-OUR [MICROPHONE SHOCK MOUNTS]-

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-[shock mounts] for microphones can provide basic protection from damage, but their prime use is to isolate microphones from [mechanically transmitted noise]-

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This can originate as floor vibrations transmitted through a floor stand,

or as “finger” and other handling noise on boom poles

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All microphones behave to some extent as accelerometers, with the most sensitive axis being perpendicular to the diaphragm.

Additionally, some microphones contain internal elements such as vacuum tubes and transformers which can be inherently microphonic.

These are often cushioned by resilient internal methods, in addition to the employment of external isolation mounts.

Early microphones used a ‘ring and spring’ mount, where a single rigid ring was mounted and carried the microphone between a number of coil springs, usually four or eight.

When early microphones were heavy and omnidirectional, this was adequate.

However the single plane of suspension allowed the microphone to twist very easily;

once microphones started to become directional, this twisting caused fading of the signal.

A more three-dimensional and less planar suspension would be required.

Large side-address studio microphone are generally strung in “cat’s cradle” mounts, using fabric-wound rubber elastic elements to provide isolation.

While the elastic elements can deteriorate and sag over time, the low price of the mount and ease of replacing the elastic elements mean they remain a mainstay despite introduction of elastomer-based designs less sensible to degradation over time.

The same occurs for end-fire microphones,

most often employed for location work,

however positioning consistency issues in mobile contexts means elastomer-based alternatives have made more inroads:

they offer more displacement (positional flexibility) along the prime axis

but, but better restrict movement along other axis,

and have less tendency to keep oscillating after movements,

which provide for better control of the microphone’s precise position

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*๐Ÿ‘จโ€๐Ÿ”ฌ๐Ÿ•ต๏ธโ€โ™€๏ธ๐Ÿ™‡โ€โ™€๏ธ*SKETCHES*๐Ÿ™‡โ€โ™‚๏ธ๐Ÿ‘ฉโ€๐Ÿ”ฌ๐Ÿ•ต๏ธโ€โ™‚๏ธ*

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๐Ÿ‘ˆ๐Ÿ‘ˆ๐Ÿ‘ˆโ˜œ*-SHOCK MOUNTS-* โ˜ž ๐Ÿ‘‰๐Ÿ‘‰๐Ÿ‘‰

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๐Ÿ’•๐Ÿ’๐Ÿ’–๐Ÿ’“๐Ÿ–ค๐Ÿ’™๐Ÿ–ค๐Ÿ’™๐Ÿ–ค๐Ÿ’™๐Ÿ–คโค๏ธ๐Ÿ’š๐Ÿ’›๐Ÿงกโฃ๏ธ๐Ÿ’ž๐Ÿ’”๐Ÿ’˜โฃ๏ธ๐Ÿงก๐Ÿ’›๐Ÿ’šโค๏ธ๐Ÿ–ค๐Ÿ’œ๐Ÿ–ค๐Ÿ’™๐Ÿ–ค๐Ÿ’™๐Ÿ–ค๐Ÿ’—๐Ÿ’–๐Ÿ’๐Ÿ’˜

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*๐ŸŒˆโœจ *TABLE OF CONTENTS* โœจ๐ŸŒท*

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๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ*we won the war* ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ