 DSM
Mics are a unique (patented) type of 'Spaced-Omni' HRTF BAFFLED Mic that produces recordings with
UNIVERSAL playback compatibility; this is NOT a Binaural HRTF
array mic, but a different kind of HRTF Stereo-surround ambient
mic / method.
In addition, DSM recordings have automatic NATURAL-sounding
2-channel DTS/Dolby® ProLogic® encoding for full Theater/MUSIC
5.1 - to - 7.1 channel Surround-Sound speaker playback realism!!!
Exceptionally versatile for Professional & Amateur
sound recording
Dolby®
&Dolby ProLogic® are ®registered trademarks of Dolby
Laboratories
|
Most recent/most compact 2-Channel Stereo-Surround Configured Portable
System: Compact R-09HR
24bit Flash Recorder + MOD-4
mic power deck upgrade + DSM mic model most appropriate to sound
subject interest.
NOTE:
Much larger-heavier stock Sony PCM-D50
flash deck directly powers DSM mics without needing upgrade
mod.
Extend
power hungrey gear remote location limited recording time with
long runtime external deck power
systems.
Minimum System: Portable Audio Deck + Headworn
DSM or LiteGUY
baffled Mic
Solid
State Compact Flash/Hard Disk
recorders like: KORG MR-1,
MicroTrack
24/96, Edirol/Roland
R-09
R-09HR, and R-4(PRO);
Sound
Devices 702T, 722, and 744T; Fostex
FR-2
FR-2LE;
Marrantz PMD-660/670/671 (flash/HD/flash card) digital audio decks
require at least DSM mic powering and often
only external preamp solves digital
deck's too noisy mic input issues. Solution for deck input noise
is LINE level audio from external PA-3SX(-U)
or PA-24(series) preamp models.
|
 Exactly Like you Hear it...
Nothing Less
No Limits..... NO Excuses . . .
NO Problems
Headworn
or HRTF Baffle mounted, DSM makes it easy to get it right the
first time, AND is the only totally commercially compatible stereo
MIC that consistently records everything you hear exactly like you
hear it at the MIC position.
NO MIC coloration distortions or frequency bandwidth limitations;
NO nasty surprises later in post edit.
|
Radio
Broadcast or Recording of Audience Ambient & Performance
Perspective of Various Live Events 
Tape
Traders & Audio Enthusiasts for Live Music, Lecture, Studio,
Theatrics, & Nature
Ambient Recording
Musician,
/Composers to Demo or Release projects, and Sampling Keyboard
Stereo Sound
Talking
Book Vocal Narration Enhancement for Real-time or Post Multi-tracked
Ambient Effects Realism
Film/Video
Ambient/EFX Stereo Sound and for Video Camera 3-D Surround-Sound
External Stereo Mic Use
Sound
Design, Cataloged Ambient Sound & EFX Library, Foley Effects,
Musicology Studies,
Naturalist Sound
Radio
& TV Journalism, Documentary Ambient, Interview, Linguistic
Study, Spoken History Study
3-D
VR (Virtual Reality) Sound Research & Sound(s) for Interactive
Game Projects, Museum Exhibits, and Sonic Healing
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Effortlessly
RECORD the full rich sounds of: Guitar,
Piano,
Cello,
Drum Kit,
Vocal Groups of all styles, Live Performances of any kind, 2-Channel
studio mix tracks, and collect Keyboard samples of anything anywhere
with any recording deck, laptop external soundcard, or camcorder
with line/mic inputs. It just can't get any easier than this.
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DSM Headworn/HRTF Baffled
Microphones Features:
|
DSM Features Include:
- Mini
Deck Safe/Secure Molded Right-Angle OR miniXLR-3M Output Plug
- NO
HYPE Natural Sound, Absolute Lowest Mic Diffraction/Coloration
- Very
Smooth /Detailed <5-23,000+ Hz 3 dB Bandwidth; 40,000+ Cycle
Response
- Records
Naturally Encoded 2 & 4 Channel Stereo-Surround; No Processor
Required.
- Exclusive
"Star Quad" Mic Wiring for Maximum Noise Immunity & Signal Purity
- True
Pressure Omni Back-Electret Condenser Capsule Construction = Lowest
Distortion
- Super
-Precision Channel Match; Gain Stabilized 2 & 4 Channel Pickups = Ultra-Precise Imaging
- Extremely
Low Handling Noise; Best over All Other Small Mics by Proprietary
Design
- Psycho-Acoustic
HRTF (Head Related Transfer Function) Mechanism
Omni-Directional
Pattern.
-
Sealed & Rugged All-One-Piece-Molded Design.
- Benefit
Features:
- DSM
Recordings have Natural Playback with Stereo/Surround Speaker, Headphones
& Mono Systems; No Unpleasant 'Binaural Type' Tonal Shifts!
- No
required Pre-Post Processor or Processing for any Direct-to-Recording
Media Application
- Application
Specific Features:
-
DSMs are Application Specific with 6+ Models. DSM-6S Series
= Extra-Low (EL) to Extra-High (EH) DSM-6S Models range in Sensitivity-79/-55dBm
@ 84dB SPL.
- DSM
Models Are Designed for Specific
Recording Application Range,
- Will
NOT Overload, Cause Deck Input or Preamp Overloads, and be Acceptably
Quiet When Custom Configured as a System for a Specific Purpose
and Recorder Model.
- Exceptional 2 Year Limited Warranty + 60 Day Customer Requirement Satisfaction
or Full Paid Price Exchange/Refund Policy
|
NOTE:
Click Image for Samples of Piano Recordings Session
|
 Click
Image for Air Force Band of the West Performance |
AVAILABLE DSM Models
Are Specified for Quality Recording of Nature, Vocal, Ambient, EFX,
Music Sound Recording & Acoustic Lab Measurement
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*NOTE: DSM-6(S) available in (5) Five Sensitivity (Gain) Ranges & DSM-1(S)
in (2) Two Ranges Best Suited (Not Limited) to Specific Requirements
|
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 DSM™
HRTF 4+ CHANNEL SURROUND-SOUND RECORDING SYSTEMS
Dolby
5.1+ Compatible Recording
|
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Multi-channel
Application Specific Models ~$3500-$8500+
|
| |
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Battery Powered 4-Channel
XLR Balanced or Hi-Power Video Cable Driving DC-Servo Preamplifier |
|
Call
for specifics on custom 4 and 5.1 channel systems
|
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| DSM In-Series External
Power & Bass Cut Filter Adapters |
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>With 3.5mm molded Right/Angle mini-Stereo, or upgrade to miniXLR
plug output
|
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PA-6
(f/DSM-1S/6S) External In-Series, 2000 Hr.(1)AA Cell DSM Powering
$125.-USD
PA-6PFC
(As Above, But) Dual AA Cell Pwr.+ Precision Film Coupling $225.-
PA-6LC3
(PA-6) + Bass 45/85/180Hz LoCut Switch+Precision Film Coupling $225.-
PA-6LC3B(As
PA-6LC3, But) 85/180/250 Cycle LoCut For Mega Boom Bass $225.-
PA-6LC2
(As 6LC3, But) Bass 85 Hz LoCut with ON/OFF Filter Switch $225.-
PA-6LC
(As 6LC2, But) Fixed at most used 85 Hz Rolloff...No ON/OFF Switch
$125
PA-10PFC
(f/DSM-1/6) Like PA-6PFC, Pro-Studio type with Dual XLR-3 Out Connectors
$250-$280.
|
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| DSM Stereo Microphone Recording Accessories |
 |
DSM-GUY 1st Acoustically
Correct 'Dummy Head'
The Original DSM Virtual Reality HRTF Recording Baffle
$1800.-
|
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LiteGUY 2-3 Lb.
HRTF Mic Baffle
5/8" Std. Mic Stand/Boom mounting $1000.-
|
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WHB/N Windscreen Headband Accessory .....NOW with molded hardcase
Mounts DSM Mic & Protects from interfering Wind, Water Spray, Sun $250.-
|
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(Available: DSM Mic WHB Premounted)
|
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PA-24NJ DC-140KHz SERVO
PREAMP $1000-$1350
-
Advanced
DSM Mic Powering:
3-IC Low Noise Current Source
-
6-IC
2-Stage AMP Design; Fullest Fidelity at ALL Gain
Settings
-
True
DC Servo Design; NO Capacitors in the Signal
Path
-
<
.01% Low Distortion; DC-to-140,000 cycle (-3 dB
bandwidth)
-
2-AA
Cell 200+ Hour Powering (L91 Eveready Photo
Lithium)
-
ON/OFF
High Pass Filter; 45-OFF-90 cycles LoCUT; DC Coupled!
-
Very
Small Pager-Like Size; Protected Switches, Gold
R/A Plug
Portable
mic preamplifier (3 MODELS) designed specially for DSM-1S/6S
mics. Ideal for
remote location ambient recording using MD, DAT, Compact
Flash, Hard Disk, or most deck's analog LINE input for up
to 24bit/192kbps digital recording requirement. THE most
precision/practical extreme wide-bandwidth battery powered
stereo mic preamplifiers available today.
|
 |
 PA-3SX
(-U)
Smaller
size, single stage DSM powering preamp with a bit less bandwidth
/ gain / features of the most versatile 2-stage servo PA-24
preamp series.
$450
- $510 USD
$480
USD As
configured above with miniXLR input jack fitting R-09 digital
recorder LINE level input.
|
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CONNECTOR
OPTION: PRO/Universal
I/O Switchcraft
mini-XLR-3F preamp mic input jack / universal preamp output
configuration to fit newer digital deck input(s). (Requires
$50 upgrade of DSM mic to mini-XLR-3M plug and output ADAPTER
patch fitting specific deck model being used.)
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PA-3SX
Portable Preamplifier $450.00 USD
Upgrades
Edirol/Roland
R-09 / R-09HR
flash deck to world-class low-noise/distortion performance for external
microphone connected field recording
-
|
($480
USD version shown with optional miniXLR mic input jack)
|
- FEATURES:
- Low
cost, highest precision
- Exceptional
build quality
- Very
compact 'pager' size
- Exceptional
low input noise
- Low-med-high
gain switch
- 600-800+
hrs (2)L91 AA cells
- 7-to-55,000Hz
-3 dB Bandwidth
- Power
ON/Low-battery/ near clip LED
- Powers
low-voltage DSM electret mics
- Useful
with other types of condenser/dynamic self powered mics
|
 |
CLICK
HERE
for OWNERS MANUA
|
 MONO
Lapel Microphone |
For
Interview, Narration, and Lecture Wireless/PA Mic & Recording
Use
|
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NOW with Gentle Hinged Clothing
Clip Mount
|
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Very
Quiet Design; NO Handling or Cord Noise !!!
|
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$175.-
USD
|
Best
Voice Quality of ANY Lapel Mic in the World, a Great Value
|
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Portable CF/HD Deck Extended Time Powering Solutions
|
|
 Edirol-Roland
R-1/R-4, Fostex FR2 (CF) /(HD), and
other models too often exclude full featured, fail-safe external
battery connection to the AC adapter jack.
Instead requiring internal 'dummy AA cell' power connection
with small cord leading outside the hatch. NOT an issue
with decks featuring LOCKING power plugs.
Battery
compartment connection retains low battery
warning feature, also is most secure connected
method. Helps avoid recording data loss, or CF damage if power
is interrupted.
|
Portable Deck Power Sleds
|
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BC/BD-SERIES 15
- to - 55+ hour external power sleds for remote field operated
decks
Ideal
for M-Audio's MT1/MT2 USB, KORG MR-1, Edirol R-44, and
for more power hungry models.
See PAGE HERE
(Alkaline
cells not included)
$125
-to - $275 USD
|
|
BATTERY
SIZING 101:
| |
If
looking for a battery pack for running so many hours,
and know the external
pack internal battery size, do the math with:
Battery
Voltage x Ampere Capacity = Watts (pack
capacity)
|
|
EXAMPLE: BC-MR4 for
KORG MR-1 deck shown at right. This external pack
has over 35 watt capacity using 4 C alkaline cells that
when divided by 2.5 watts needed by MR-1 = ~16 hours runtime.
This
type of battery pack 'recharges' in seconds anywhere
with fresh cells inserted.
|
|
 |
| |
Sometimes
the selling retailer does not list the pack's internal
battery voltage and ampere capacity, but
try to find this going to the pack maker's web page technical
description for best chance of finding this. Most of these
external rechargeable packs use just ONE 3.7 volt lithium
battery at some ampere capacity.
|
|
16
hours runtime is far more than most recordists need
for doing an evening concert or session, and then returning
home to recharge.
Having
much longer battery runtime is
exactly what's very needed for those doing days of recording
in remote locations, where recharging external packs is
not so practical, or those just wanting maximum recording
runtime capacity, and extra reliability of alkaline cells
so remote location powering on batteries is 'never a problem.'
However
convenient, reliable,
and powerful, alkaline flashlight cell type packs are,
they seem not environmentally kind because they're
using up non-rechargeable cells that end up in a landfill!
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KORG
MR-1 requires ~2.5 WATTS power
|
| |
Actual
available watts at 5 volts pack output will be (10%-25%)
less
than that, but you'll know at least ideal run time by dividing
external pack watts by 2.5 deck watts. So be conservative
in estimated running time from any pack until fully 'rundown'
tested. |
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| |
TIP:
New packs need 2-3 use to ~60% remaining, recharges
to fully wake up
to maximum capacity, and then will last up to 2 years
before losing 20% or more capacity/runtime ability.
So SUGGEST best to BUY NEW having 50% MORE capacity
than expected to actually need.
|
|
This
is less an issue with
packs using much larger capacity D cells having 35-50
Hr deck runtime, needing 'refreshing'
ONLY every year or two(!) if used every month for
recording one or two events.
What's
interesting is most lithium rechargeable pack batteries
fully work same 1-2 Yr. length of time,
and have lost enough reliability/capacity for owners to
be disposed for cheaply
getting another!
So
in many use situations, about the same burden
on the environment using either type battery.
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Recording Accessories
|
|
+ Battery Use/Maintenance Tips
|
 WHAT'S
OLD AND NEW IN QUALITY HEADPHONES
Suggesting headphone models is like asking people
opinions on the best available shoe to purchase. Everyone walks
a bit differently and over ever-changing terrain suited to personal
interests and comfort fit requirements.
|
|
| (Partial) Sonic Studios Customer Profile (Over A 22 Year Span) Includes: |
|
DANETRACKS(Andrew Lackey, Location/Post film Sound/EFX/Ambient/Foley), Pacific Multimedia/RadioCamp(Gregg McVicar, public radio production & sound design),
Proctor & Gamble(Interview/Documentary), Boeing(In-Flight Aircraft Acoustic Testing), San Francisco City College (Instruction/Performance
Music Recording), Briggs & Stratton(Engine Acoustic Testing), UC@Santa Barbara(John Debois, Linguistics Studies for Longman Encyclopedia Project),
Skywalker Sound(John Mardesich, Gary Rydstrom & Independent Contract Sound Designers
like Oscar'd David
Farmer; Film Sound/Ambients/Design/EFX/Music),
SOUNDELUX/SEG/Liberty Livewire Audio Division/Todd-AO/Four Media(Wylie Stateman & Contracted Designers/Ambients-EFX-Sound
Design), Keltner Drum Co(Jim Keltner; Performance/Studio), SOUND DOGS Inc.(Yann Delpuech, Rob Nokes, Greg King, Bob Grieve+,
ON-LINE Film Sound Library/Design/EFX/Ambients), SOUND IDEAS(Canada;
Dave Lukezic +Many Contracted Independent Field Recordists;
Sound Cataloging Projects/Library), ADVANTAGE Audio(Bill Koepnick, Film/Video Animation Post, Sound Design, EFX sampled
library, Dialog, Foley), Nike Film/Video(Interview/Documentary For Marketing), Saturday News
Inc(Ed ]ennings; Interview/Ambients),
Machine Head(Stephen
Dewey, Ambients/EFX/Design), Sound One Corp(Film Sound Design), Acme Soundworks(Thom Brennan,
Sound Design/EFX), SOUNDSTORM/Carl Ware,(Ambient/EFX for Film), Creative Sound Design (Frank Bry,Game/Film/Contract Sound Design),
Continuum
Productions(Sound Design/Ambient), Helffrich
Recording Labs(Live Performance),
Homelands
Productions(Sandy
Tolan, PBS Radio/Documentary
Programs), Jack Straw Productions(Doug Haire+, Independent Recording Studio/Sound & Radio Program
Design/Ambients), KUNM Radio(News Dept./Interview), Perceptive Sound(Nick
Peck,Location Sound/Ambients), Rose
Films(Videography with 3-D Stereo Sound), Sonic Arts Digital(Film Sound Design/EFX/Ambients), Spin
Cycle Post(Film Sound Projects),
SoundStorm(Documentary/Film
Ambients/EFX/Design), Titanic Records(Location Acoustic Music Recording Label), The Sound Tracker(Gordon Hempton; Worldwide Nature Ambients), Territory Titles(Tom Vorce, Talking Books), Univ.
Michigan(School of Information Studies), WUNC Radio(News
Reporting), Sync
Sound, Inc(Film Sound Project Design), Dallas Symphony Orchestra(Tour & Location Live Performance Recording), BOSE Corporation(Virtual Audio Acoustics Research Lab.), MHZ
Sound Design, Inc.(Paula Fairfield, film ambients/EFX/sound design), General Motors(PowerTrane Div Vehicle .Acoustic Tests),  Location Sound Corp.(Sales/Service/Rentals of Recording Equipment), ACTIS(Virtual Reality Audio Projects), Everhart Engineering(Acoustic & Pipe Organ Label Recording), Randy Bachman Music(Canada; Acoustic Instrument Studio Recording), N.
Monterey High School/Music Dept.(High School Music Studies/Band),
Realist Video(Documentary),Brian Bennett Music(Music Composer/Samples/Project Studio), Quasimodo
Radio(Interview/Ambients/Music), ACL Innovation Inc.(Acoustics Studies Lab), C5 Inc(Ben
Cheah & Ron Bochar, Film Ambients/EFX Projects),
Mad River Post(Film Ambients/EFX Projects), STEREOTYPE(Radio-Film Interview/Documentary), Soma Sound Inc.(Film Ambients/EFX), KOKA Productions(Film Docs., Interviews), Ridgeway
Sound(Mexican Musicology/Violin-Quitar), Starts Friday Productions(Ambients/Live Music Recording), Electronic Arts(Sporting Events/Interviews), Landmark Entertainment Group(IMAX Film 3-D Ambients/EFX), Living on EARTH(Terry Fitzpatrick, PBS Radio Program
Material), Mercenary Audio(Fletcher, Rock Band/Studio Analog Multitrack Recording), Technique,
Inc.(Ty Ford, Recording.StudioEngineering/Writer), Fashion Computing Lab(Ambients/Acoustic Instruments), RIES
Sound(Ambient Nature/City/EFXSamples), Haggar Audio Productions(Rob
Hagger, Sound Designer), Cedar Creek Studios
Inc (Paul Ingles, News/Interviews), KALW (FM Radio)(City SoundScapes-Ambients), TEAM VIDEO International/AURORA
Productions(Skip Sorelle Location sound./Interview/Ambient),
Shoreline
Sound(Live Performances & System Evaluation),
Institute for Family
Psychology(Voice/Gong/Chorus), Tecolotl
Productions(Mexican .Ethnic Music/Language), Microsoft Corporation(Game EFX/Ambients), KENNEDY Associates(Sound&Lighting Div.;Live Location Music Rec.), Media
Room(Ambients/Musicology), J. Lindkvist
Design AB(Worldwide Nature Ambients), Project
One A/V(Sound Design), Maxwell
Production Sound(Ethnic Music, Docu.,Film Sound),
Sustria Sound Solutions(Sound Therapy Research), Ishtikara Music Co(Musicology of Egypt, Algeria/ Morocco), Jam
Band Radio Show(Radio Interview/Music), Electronic Design Associates(Acoustic Music/Ambient), Spectra
F/X(Ride Attraction Sounds), John M. Miller Engineering Services(Film Location Sound/Ambients), Broadcast
Engineering Services(Studio Acoustics Testing),
The Noise Floor(Al
Nelson), Independent@Skywalker Sound/Foley-Ambient). Unusual Films(Jason Nicholas@Bob Jones Univ; Theatrical Audio/Film),
Redwood Digital(Neil Young/John Nowland; Studio Acoustic Recording),
Vermont Jazz Center(Eugene Uman), Performance/Session Recording),
Visual
Concepts(Computer Game Ambient/EFX), Sports Photo(NY Giants-Sports Interview/ambient), INTERPLAY
(Charles
Deenen), Ambient/EFX Sound Design for Game titles),
SOUNDWALK
(Stephan
Crasneanscki), stereo-surround 'real-time' location audio
tours/corporate
presentations ........ +many, more NOTE: This list needs update
after ~10 years unchanged!!! |
|
This
page updated 3/15/2009© Copyright Sonic Studios, All Rights
Reserved
|
| What's
on Sonic Studios Web Site:
(Click underlined text, and navigation photos) |
|
|
DSM™ |
Patented
Stereo-Surround Microphone Technology |
|
Passive
DSM™ Mic Powering/Bass Filters |
| |  |  | 
|
| |
| |
| |
Eyegear/Headband/HRTF
Baffle mountable matched omni mics |
Stops
wind blast noise; transparent acoustic design; records real wind
sounds |
|
for
MD, DAT, CF, HD, and Video Field/Event/Studio Recording |
|
|
Battery Powered-Portable Mic Preamplifiers |
HRTF
RECORDING |
Stereo-Surround
Omni Mic Baffle for Stand, Fishpole, Studio Boom, and Ceiling |
|
RECORDING
ACCESSORIES |
 |  |
Portable
Deck Power Solutions 
|
|
Patch/Adapter
Cables |
 |
Field/Studio
Monitoring Headphones, Reviews |
|
| |
High-definition,
low noise, very wide bandwidth preamp designs to fit any field/event/studio
application using DSM™ stereo-surround recording mics. |
MONO
ONLY 'Lombardo' Lapel Mic for interview, Narration, Lecture,
and clip-on acoustic instrument Recording |
|  |
|
| DSM™
Magazine Reviews | | |
 | |
|
| | | |
USA
Toll Free: |
1-877-347-6642 |
|
|
| |
| |
Telephone
#: |
541-459-8839 |
|
| | |
E-mail: |
|
|
| | | |
AVOID
ACCIDENTAL E-MAIL SPAM DELETION: PLEASE ALWAYS INCLUDE an
appropriate SUBJECT line in all e-mail correspondence. |
| A
Few Other Links |
| About
Sonic Studios | |
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|
Sonic
Studios™