Be There Again With DSM Stereo Microphones
Sonic Studios  
Making History With DSM™ Stereo-Surround Mics

CUSTOM HRTF* Baffled / Headworn Recording Gear

(*Head Related Transfer Function)

Ambient Environment Stereo-Surround Microphones & Video Recording Accessories

For Studio, Stage, & Field-Portable Audio & Video Recording

Specializing in Custom Natural Live Environment Sound Recording Systems

Live Remote Location High Definition Video/Audio Recording & Mastering Serving Southern Oregon USA Region

Dimensional Stereo/Surround Microphones is DSM
Click to find us on YouTube!!!
DSM™ HRTF Baffled Omni Surround Natural Environment Microphone Systems
See Dimensional Stereo/Surround Mic (DSM"™!) US.Pat. No 4,819,270
General DSM Recording Mic Introduction

DSM™* Headworn or HRTF Baffle Mounted Microphones fully utilize natural psycho-acoustical cues involved in normal spatial hearing of ambient surround sound. DSM™ is NOT a traditional Binaural in-ear recording method. As such, DSM™ mics DO NOT have the headphones only playback limitations typical of Binaural "in-or-very-near-ear" microphone methods. DSM mics faithfully allow consistent emvironment recordings with precise virtual reality (VR) surround imaging for both headphone and multi-channel stereo/surround speaker playback with 'you-are-there' live realism. Also, unlike binaural sound, works well when presented in lowest denominator monophonic as is common with radio productions.

DSM™ recording's result in stereo/surround multi-channel environment sound perceived as 3-Dimensional, virtually realistic & very convincing; retaining the full emotional effect of all live sound experiences.

The DSM™ method of ambient sound recording has proven extremely effective in capturing the total sound spectrum of: voice, vocals, musical instruments large & small, natural background ambient, staged music & theater performances, ENG and news interviews, sound effects (EFX), music & sound samples, point-of-view (POV) film & video location sound, and sound for virtual reality (VR) media program & game projects.

Customer Profile/Links
Hear 100"s of DSM Recorded MP3 Sound Clips
VideoMic & Camcorder External DSM Stereo Mic Page

Basic DSM Mic Pickups Description: (2) Very small, tip of finger sized mic pickups with full-service eyeglasses type cord/leash molded construction with rubber loops for versatile 'stealthy' head mounting.

This allows easy and secure mounting to many types of headworn apparel such as "eyeglasses mic", sweatband, hat or cap, mounted on the WHB windscreen headband or DSM-GUY or LiteGUY or VideoGUY 'dummy' head HRTF baffles for extraordinary stereo recordings.

DSM recording method uses ONLY the head's HRTF effect (NOT the ears as in Binaural!) to naturally record full spectrum multi-channel surround & mix-to-mono media capability 3-D ambient sound.

When personally worn, DSM mics will not interfere with normal hearing, vision, and are very resistant to generating any noise from mechanical movements.

Also See: DSM Specifications / Use Chart Page
Download & Hear DSM Recorded MP3 Sound Clips
Customer Comments& Testimonials

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

Suggested 2011 2-Channel Stereo-Surround Configured Portable System: DSM mic powering 24bit flash recorder + most appropriate choice of DSM mic model.

Extend 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: Sony PCM-D50/M10 Olympus LS-10/LS-11, KORG MR-1, MicroTrack 24/96, Edirol/Roland R-09/R-09HR , and R-4(PRO); Sound Devices (internal flash/HD/external flash card recorders).

NOTE: Most recorder mic inputs do not power DSM mics, and/or are too noisy for some purposes. These require at least DSM mic powering and often only external preamp solves digital deck's too noisy mic input issues.

Lowest costing solution for some deck input noise issues is LINE level audio from external PA-3SX (-U) or more featured PA-24 (series) preamp models.

Record IT in Stereo

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 in the environment exactly like you hear it at the MIC position.

NO MIC coloration distortions or frequency bandwidth limitations; NO nasty surprises later in post edit.

A most consistent perfect for recording any environmental sound desired.

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 , Museum Exhibits, and Healing Projects

Environment sound research & documentaries. Record noises in any environment .

(archived) Downloadable .gif Images of older Mic Models/Powering/Order Info

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.

Customer Profile Listing
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

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/Environment Noise Lab Grade Measurements

DSM Mic Models Page

*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 



Dolby/DTS Surround 5.1+ Compatible Recording
Multi-channel Application Specific Models ~$3500-$8500+
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

Sound Ideas' engineer David Lukesic recording impact sound effects using 'Harry,' a built-to-order Sonic Studios surround-sound 4-channel DSM + LiteGUY HRTF baffled mic array mounted on a fishpole boom.

David also personally headwears this same 4-channel mic array (sans LiteGUY baffle) in less hazardous, more socially demanding projects where keeping lowest mic recording 'visual impact' within a crowd of people is desired.

More about sound designers using DSM microphones on the FILM CREDITS PAGE

DSM In-Series External Power & Bass Cut Filter Adapters
>With 3.5mm molded Right/Angle mini-Stereo, or upgrade to miniXLR plug output
CLICK Here For DSM Mic Powering Adapters Page

PA-6 (f/DSM-1S/6S) External In-Series, 2000 Hr.(1)AA Cell DSM Powering  $150.-USD

PA-6LC3 (PA-6) + Bass 45/85/180Hz LoCut Switch+Precision Film Coupling $275.-

PA-6LC3B(As PA-6LC3, But) 85/180/250 Cycle LoCut For Mega Boom Bass $275.-

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 $200

PA-10PFC (f/DSM-1/6) Like PA-6PFC, Pro-Studio type with Dual XLR-3 Out Connectors $325-

DSM Stereo Microphone HRTF Recording Accessories

DSM-GUY 1st Acoustically Correct 'Dummy Head'

The Original DSM Virtual Reality HRTF Recording Baffle

LiteGUY 2-3 Lb. HRTF Mic Baffle (Sold Out)

5/8" Std. Mic Stand/Boom mounting

VideoGuy Lowest costing 2-3 Lb. HRTF Mic Baffle

5/8" Std. Mic Stand mMount/Camera
Quick Release Top Mount

WHB/N Windscreen Headband Accessory .....NOW with molded hardcase

Mounts DSM Mic & Protects from interfering Wind, Water Spray, Sun

(Available: DSM Mic WHB Premounted)
  • 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.


Small size, single stage DSM powering preamp with a bit less bandwidth / gain / features of the most versatile 2-stage servo PA-24 preamp series.

Staring at:

$510 USD

Shown at right configured above with miniXLR input jack fitting R-09/09HR & other deck models of pocket size flash audio recorder LINE level input.

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.)

PA-3SX Portable Preamplifier


    • 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
MONO Lapel Microphone
For Interview, Narration, and Lecture Wireless/PA Mic & Recording Use

NOW with Gentle Hinged Clothing Clip Mount

Very Quiet Design; NO Handling or Cord Noise !!!

$300.- USD
Best Voice Quality of ANY Lapel Mic in the World, a Great Value


Portable CF/HD Deck Extended Time Powering Solutions

Portable audio recorders 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

BC/BD-SERIES 15 - to - 55+ hour external power sleds for remote field operated decks where charging/swapping batteries is not practical.

Ideal for M-Audio's MT1/MT2 USB, KORG MR-1/2, Edirol R-44, and other power hungry decks needing 5 volt USB connected power..


(Alkaline cells not included)



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!

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.      

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.


Recording Accessories


+ Battery Use/Maintenance Tips


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 25 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), Sonic Studios DSM Stereo Microphones LogoLocation 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 (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.), 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 ~16 years unchanged!!!
This page updated 1/30/2015 © Copyright Sonic Studios, All Rights Reserved

What's on Sonic Studios Web Site? (Click underlined text, and navigation photos)
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
Stereo-Surround Omni Mic Baffle for Stand, Fishpole, Studio Boom, and Ceiling

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 mics.

MONO ONLY 'Lombardo' Lapel Mic for interview, Narration, Lecture, and clip-on acoustic instrument Recording

DSM™ Magazine Reviews
    USA Telephone #:


PLEASE .................. ALWAYS INCLUDE an appropriate SUBJECT LINE in all e-mail correspondence.

A Few Other Links
About Sonic Studios