{"id":1354,"date":"2026-03-02T22:40:19","date_gmt":"2026-03-03T06:40:19","guid":{"rendered":"https:\/\/sounddept.org\/?p=1354"},"modified":"2026-03-02T22:44:47","modified_gmt":"2026-03-03T06:44:47","slug":"shockmounts-pt-2","status":"publish","type":"post","link":"https:\/\/sounddept.org\/?p=1354","title":{"rendered":"Shockmounts pt. 2"},"content":{"rendered":"

Never being fully happy with any shock mount, I found myself with broken parts of a couple of Cinela OSIX 9\u2019s donated to me by a colleague, and a couple of Rycote INV shockmounts that I don\u2019t use. I don\u2019t really like the Lyre system, specifically how rigid they are when taking my mic in and out, and I don\u2019t find them to be especially effective in reducing handling noise.<\/span><\/p>\n

Episode Two: Shockmount Frankenstein<\/span><\/strong><\/p>\n

\"Rycote<\/p>\n


\nI typically use Cinela shock mounts for my Schoeps mics, and although I think they do a wonderful job, their weak parts are the cable that wraps overhead and around, and the elastic bands that hold the mic in place. Another weak part is the bit that mounts the shock system to the boom pole. I believe that they are 3D printed, and therefore more fragile than a mold injected process (not 100% on these facts tho). In any case, I\u2019ve had one of these systems fall about three feet onto soft earth, and break apart upon impact.<\/span><\/p>\n

\"Cinela<\/p>\n


\nMy gripes about the cable that encircles the mount are that it can break easily, and if it comes a little loose, it will tap against the mount, creating noise when swinging the mic around. Additionally, the bottom part of the mount, which includes an XLR connection, is a good idea if your boom pole has a straight XLR connector on it. But I use boom poles that have right-angled connectors on them. So in lieu of re terminating all my boom pole cables, I decided to take this opportunity to run a little experiment.<\/span><\/p>\n

\"Shockmounts<\/p>\n

What I wanted to accomplish was to use the top portion of a Cinela mount with the bottom portion of a Rycote.<\/span><\/p>\n

First Step: Dismount the Lyres<\/span><\/strong><\/p>\n

\"Rycote<\/p>\n


\nUsing the hex tool that comes with Rycote blimps, this was simple enough.<\/span><\/p>\n

Second Step: Join Cinela with Rycote<\/span><\/strong><\/p>\n

Aaaaand done! You can adjust this so that the back elastic band holds the mic or the XLR connector in place. Here I have it holding the mic. This way I could still take advantage of the SGS Quick Release that I use, when switching mics in a hurry on set.<\/p>\n

\"Frankenmount\"<\/p>\n

<\/span>To my ears this seems to be quieter
\nthan the stock Rycote mount. I still don\u2019t like the elastic bands, but over all I like this setup much better than the stock Cinela mount as well. This system makes sense if you store your mic with its mount, otherwise taking it in and out can put wear on your mics finish over time. However, I feel like the standard Lyre system would accomplish that much quicker.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Never being fully happy with any shock mount, I found myself with broken parts of a couple of Cinela OSIX 9\u2019s donated to me by a colleague, and a couple of Rycote INV shockmounts that I don\u2019t use. I don\u2019t really like the Lyre system, specifically how rigid they are when taking my mic in… <\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1354","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/sounddept.org\/index.php?rest_route=\/wp\/v2\/posts\/1354","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sounddept.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sounddept.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sounddept.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sounddept.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1354"}],"version-history":[{"count":4,"href":"https:\/\/sounddept.org\/index.php?rest_route=\/wp\/v2\/posts\/1354\/revisions"}],"predecessor-version":[{"id":1363,"href":"https:\/\/sounddept.org\/index.php?rest_route=\/wp\/v2\/posts\/1354\/revisions\/1363"}],"wp:attachment":[{"href":"https:\/\/sounddept.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1354"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sounddept.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1354"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sounddept.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}