The gray RF-C12 Professional Desktop Isolation Filter from Auray is a desktop solution that allows music producers, broadcasters, and podcasters to get better recordings by isolating a microphone from vibrations and sound reflections, especially when its used in a space that is less than ideal for capturing audio. The Auray Desktop Isolation Filter makes capturing clean, dry vocals or instruments more natural sounding with less sonic coloration.

The RF-C12 fits on a desk or tabletop and uses multi-layer acoustic treatment to absorb unwanted ambient noise and control acoustic reflections. So, if you're recording vocals, voiceovers, or podcasts in an untreated room with hard surfaces, the RF-CF20 provides advanced microphone isolation.

Multi-Layer Acoustic Isolation    Rugged Molded Polymer Shield    Vented Back Reduces Sonic Coloration    Eliminates Bounce-Back Reflections    Layer of Acoustic Composite Fiber    Adjustable Telescoping Stand    Adjustable Mic Position    Rubber Isolation Feet Minimize Vibration    Includes Tabletop Stand    Mounting Hardware

Recording, broadcasting, or podcasting in rooms with little-to-no acoustic treatment can wash-out vocal or instrument audio recordings with echo reflections. The Auray Desktop Isolation Filter fits on your desk or tabletop and minimizes reflections of unwanted noise bouncing off hard surfaces from entering your microphone. Usually, expensive acoustic foam is required on walls for your room to sound dry. With this reflection filter, you capture what you want in your own room or workspace.

Multiple layers of acoustic treatment help to isolate your vocal and instrument recordings. A thick layer of composite fiber surrounds your microphone and absorbs unwanted reflections as well as any noise coming in from the room. A layer of acoustic fabric and a molded-vented polymer shield help deaden and disperse sound waves, leaving you with clean and dry recordings with little to no coloration.

The RF-C12 allows the microphone depth to be adjusted so you can dial in the right amount of room ambience. Easily slide the microphone closer to the filter for less pickup of room noise or slide the microphone away to add space in your audio recording.

The Auray Desktop Isolation Filter is mounted on its own stand. This allows you to place your filter and mic setup on a desk or tabletop, which is ideal for recording vocals, doing live podcasts, or broadcast applications. It's a portable option for doing recordings on the go. The isolation filter's height is adjustable from 7.25 to 9.1". (18.4 to 23 cm), and can accommodate all sizes—short or tall—to optimize mic placement when capturing audio.

Related Questions and Answers

Q: 1. for a RF 100-400 lens, would it be better to use a 1.4 extender or a 2.0 extender?

A: For the Canon RF 100-400mm f/5.6-8 IS USM Lens both the Canon Extender RF 2x and the Canon Extender RF 1.4x are compatible with the lens. It is important to note that you must extend the lens past 200mm in order to mount the 2x converter. While both are compatible with the lens and can be used for all focal lengths, the 2x converter will lose 2 stops of light (leaving you around f/11 when using it with the 100-400mm lens).

Q: 2. Can anyone tell me the external length of Auray WSS-2012? Thanks

A: Auray WSS-2012 Specs Compatible Mic Diameter 0.75 to 0.9" / 19 to 23 mm Inner Depth 4.7" / 12 cm Overall length: 6" Fits these and other similar sized microphones: Audio-Technica BP4073, AT875R, AT 877, MC-230 Azden SGM-PD2 Ikegami HL DNS-201W, HL DV-7W, HLV 9, 55, 77, MC-10, 11, 230 Panasonic AJ HDC 27, AJ HDX 900, AJ MC 700P, 900P, AJD-700, 800, 910, DV 200, DVC200 Schoeps CMIT 5U Shure VP82 Sennheiser MKH-8060, MKE-600 Sony ECM 673, 674, ECM NV1 (Camera Mic for BVP-550, 570, 950, DSR 130P, 200, 250, 300, PD150, 170, HVR A1U, V1, UVW-100) Zoom SGH-6 (Capsule for H6)

Q: 3. I've seen this on Vello's website for months with a photo, item# and price yet still not released. When will this be released what's the hold up?

A: I apologize, but this type of request cannot be taken care of through this feature of our website. Please contact our Customer Service department by entering Live Chat, emailing directly to cs@a href= http://bhphoto.com, target= _blank bhphoto.com,/a or calling us toll-free at 800.221.5743.

Q: 4. Is this suitable for a 416 t

A: It works quite well!

Q: 5. Is this stand good for the MXL 770? Can I use it for a home studio?

A: It will work with your MXL770 in a home studio environment, but this stand is a little bulky, and you might want to consider using a stand with a boom arm so that you can position the mic a bit better. https://www.bhphotovideo.com/c/product/755877-REG/auray_ms_5230f_tripod_microphone_stand.html

Q: 6. Does it reduce indoor fan noises? Heating vents, computer fans, etc.?

A: This thing protects the mic capsule from wind striking the capsule. It does not negate or filter out any ambient sounds. So unless that computer fan or heating exhaust is blowing on the capsule, it will have zero effect on those issues.

Q: 7. If I'm going to be mounting the AT875R on the camera, not holding it, is there any advantage to using foam cover as apposed to just one of these, or would this do for everything?

A: This is a few years after the original question, but the dynamics are still the same for anyone else wondering if these higher-end dead cats are worth the extra few bucks. YES, there is an advantage over every other option out there, including the lesser-priced ones that are really only the fuzzy part and retrofit over your existing foam windshield. Look at the picture of the cutout on the Auray professional windscreen. See the webby network of nondescript "whatever that is" between the outside of the dead cat (IE the fuzzy exterior) and the microphone itself? THAT is what keeps the wind out. It is made of a pliable plastic, and because of its jumbled weave, it cuts the path of the wind from as many directions as you see "jumbles." In my experience, the fluffy exterior helps more with cutting plosives and with sibilance. Let's put it this way, when I want clean audio, these professional windscreens are what go on my microphones. When I NEED a video that requires an audio sync with wind (a close of leaves blowing, etc), I will record two tracts: one mic with the professional windscreen for clean audio, and the second mic with the mic-kit "foam" one, so I will have "just enough" wind noise to match the scene!

Q: 8. What suspends the mic inside? I'm wondering how this works with a boom pole -- I'm familiar with a Rycote suspension where the pole connects to the blimp handle.

A: The shotgun is supported by an open-cell foam matrix surrounded by a layer of 25mm-thick simulated rabbit fur.

Q: 9. Will this fit a Sennheiser MKE 600?

A: Yes, this should fit the MKE600.

Q: 10. Does either one of the two 2x TC config work? 1] R5 -2x (rf) - RF/EF adapter - 100/400 II (ef) 2] R5-RF/EF Adapter-2x TC (EF) - 100/400 II(EF)

A: The EF-to-RF adapter doesn't properly mount to the RF-teleconverters due to the optical tube. You'll need to use option 2.