Thank you for the suggestion zepper.
This issue has been on hold for a while… I haven’t got much time to think about it…
I’m thinking about buying another mic: T-Bone SC140
I’m wondering if it makes any sense to get a windshield for this mic and if it’s worth trying it outside…
Please.
It’s “Gaffer’s Tape.”
http://www.filmtools.com/ne3pecatap6g.html
…(apparently you can’t buy this stuff in London) and “Duct Tape.”
http://www.3m.com/brands/scotch/toughtape/
Aquatic birds need not apply. Ironically enough, someone did the applied matériel research and proved Duct Tape singularly unsuited to managing ducts. We always suspected that.
Koz
It has a multitude of uses … Welcome to The Duct Tape Guys / Duck Tape Guys / Duct Tape / Duck Tape on the Web
Ok I just read more carefully the description of that item and it says it includes a windscreen! I guess I have my question answered 
It’s probably just a foam / sponge thing that you put on the end of the mic.
I have a pair of T-Bone SC140 mics and find them really useful, though I had to have one of them replaced under warranty as it was faulty on arrival.
Thomann appear to changed the package a little since I bought a stereo pair - the spiders now appear to be plastic whereas I have metal ones. I don’t think there were any wind shields included in my package.
Thank you Steve for the feedback. I’m still not sure if I should get the stereo kit or just one mic. My idea is to use the SC140 closer to the guitar and the SC1100 in the back for ambience. I’ll connect both mics to the art preamp. If I get the pair I’ll have to leave the SC1100 out, since the Art preamp only lets me connect 2 mics and I’m not willing to buy another preamp or mixer at the moment…
Decisions… 
I’ll have to think more about it.
If you keep going on about that ART you are going to talk me into buying one for myself 
I’ll let you play with it in the summer 
It’s pretty easy to vet the effectiveness of a wind screen. Try the microphone with and without screen and smash the two sound tracks together. If there is an obvious tonal shift, you get to decide whether or not you want to use it. The blimp and the furry animal on a stick contribute no tonal shift, but both have a significant attenuation in low frequencies and DC (wind). The blimp can still produce wind noise under certain circumstances, so the cat(s) have pretty much taken over.
My metaphor is the wind getting tired moving all that hair around and not having any energy left to cause damage. Moving hair makes little or no noise.
That and nobody would dream of recording anything below 100Hz anyway. This is field operations talking. Studios are different.
Electrovoice made a special open cell foam for their microphone wind screens and it worked very well. They used to do “medicine shows” where they would prove how good it was. Most foam windscreens are just packing foam in the right shape and they cause muffling. If you take your foam off and the microphone suddenly “opens up,” then you know what you have.
You can use your voice, but I found crackling and crunching a newspaper for the test works very well, indeed. Those produce remarkable white noise and anyone with $.50 USD can buy test equipment.
Koz
Remember, Bruno also bought a very good microphone and he plays very well. Those two can cover up a lot of sins.
Koz
Thanks Koz for the comments
Bear in mind that it’s not all about killing wind though, some pop filters and windsocks - especially when used together - will muffle your high end response and make the sound a bit more dull. Many people don’t know this, or maybe they don’t care. A good windsock will kill wind noise effectively but also preserve as much high end content as possible. The color and hairdo of a windsock is pretty irrelevant.
The SC140 as arrived… it comes with a small foam cap. I’ll post pics and samples later tomorrow. I’ll see if I can try it outside with some wind also. I haven’t take any measures, but I’d say it could probably fit in a rode’s deadkitten…