But the OP is stating the common problem, which is drooping boom syndrome ( we call it flaccid )  This is caused by the crappy small clutch they have, These Dixon's have a much larger surface area on the clutch and that's why the hold on. Try adding different types of rubber circles or some shoe goo. 

I use ankle weights, I can leave them at the base or attach them to the other end of the boom when using heavier tube mics.

In the film industry lighting boom stands are always assembled and set up on location with the binding mechanism oriented so that as the boom tries to "fall" or slip on the pivot, the binding mechanism actually gets dragged so that it becomes tighter.

It makes it unlikely that the boom will slip.

Most mic stands have the binding mechanism on the other side so as the boom falls the mechanism actually gets looser and encourages the boom to fall.

Some mic boom stands allow you to pull the hardware apart and reverse the orientation... many don't.

When ever I set up a mic boom stand I think about how I would set up a light stand and I wonder why the idea isn't universal understood in the sound department the way it is in a lighting department.


best regards,
mike

Do you have a pic or a link to one of these? I have never seen or heard of one. The design sounds interesting

It's not so much a design but rather a protocol.

If you set the light stand boom up "backwards" it will be more likely to slip.

Most light stand booms have pivots that are offset to the side... so I guess there is a design aspect:





Most mic stand booms are "one way" and set up so the musician can adjust with a right hand... if the hardware was set up on the other side, the way grip and gaffer protocol is followed on film sets, there would be less likely hood of boom slippage.




best regards,
mike

Interesting, thanks for that.