Virtual Reality Ambient Stereo-Surround

Session & Live Performance

SUGGESTION: Download MP3 Files FIRST(right-button 'save target as' on PC); clip files are mostly LARGE 160-240 Kbps 44.1k

Recordings are naturally encoded with full multi-channel ambient surround-sound. Recordings below are all made using DSM™ 2-channel mics using analog cassette, and mostly to digitally DAT, MD, CF, HD recording decks. Then transferred as wav file format before MP3 encoding.

Read about the recording equipment used in (plain text) next to the download file listing.

Suggest downloading various tracks of interest, burning a CD to play on any CD/MP3/DVD player. Listen on open air headphones, stereo, and surround multi-channel speaker systems. DSM recorded 2-channel stereo will playback the exact ambient 360 degree surround sound the recordist heard live on all 4, 5.1, 6.1, and 7.1 cinema type systems with Dolby Pro Logic II or DTS NEO-6 decoder turned on! No other recording method consistently records live sound like a DSM mic system; listen for yourself!

There are many live sound types and interests.

Below choose interesting recording categories to sample

Composition Sessions Performance Ambient Effects Radio/ENG Nature Sounds Musicology Choose a Category

Visit the HOME PAGE

DOWNLOAD this page as Acrobat .PDF file

For over 13 years Sound-Ideas and associated recordists use 2 & 4 Channel DSM™ stereo-surround mics

Download 5.1 IMMERSION sample files to play(DVD-Audio authoring software required)

ONLINE Effects/Ambient 5.1 Sounds Customer Download

NOTE: IMMERSION 5.1 recordings done with DSM 4-CH Stereo-Surround Mic

ACOUSTIC WORK IN PROGRESS

I've just put up at Head-fi.com several links to free downloads of binaural recordings, and your site is mentioned at the top of that list, of course! I also just placed at the bottom of that post (as these are all being collected in post #1) several recordings I made of Pamela Branscum playing a laptop mountain dulcimer by a stream. She sings in one of the tunes, and for a finale plays a jaw-harp solo. This is recorded, vocal and all, with just with the DSM-6S/M's worn on my glasses.

You are welcome to use these mp3's to demo your mics, with mine and Pamela's permission.

(EDITOR'S SUGGESTION: The following selections are ENCODED WAY TOO LOUD, and heard best by TURNING DOWN usual listening volume setting to ~50-60% for best experience.)

Track05SongMtnDulcPBJet.mp3
Track07MtnDulc.mp3
Track08MtnDulc.mp3
Track09MtnDulc.mp3
Track11JawHarp.mp3

Though the 6S/M is not normally used for solo acoustic instruments, these recordings attest that they can certainly be used with success for that application. I have made many fine recordings of organ performances also with these mics, though I cannot get permission to make those recordings public, unfortunately. Have to find some organists with freer minds! I've recorded some PA'd street concerts here in Winston-Salem, NC but those just aren't as satisfying as the un-amplified instruments' recordings.

Pamela and I have just agreed to work on a whole series of mountain and hammer dulcimer recordings featuring these mics and will be using several of your multitrack techniques, and a couple inspired by those. For instance, we are going to record a lively playground, and create a composite finished take from those tracks with some "hits" as they say in the movies, then we are going back to the same site during a quiet time (but same ambiance), setting up the mic in the exact same location and recording the dulcimers. Finally we will mix it all together! This is adopting your rule that the "room" or space stay stationary to establish the relative ambiance cues keeping them consistent throughout.

We will also be creating a good composite recording of a good crackling fireplace, and will try playing that over speakers in my studio while she plays the dulcimers and sings with the sound of the fireplace being "placed" with her in that new space. We're not sure how that will work out, but it is worth a try. The theme of this project is to have a continuity presented throughout the 1-hour CD where the feeling of "being there" continues throughout without breaks or silences between, transitioning via gentle segues instead. I will certainly share the fruits of those labors with you both! I'd like for you to share in the fun your microphones are giving us!

Here is the direct URL to that post in full form in case the link was filtered out above:
http://www.head-fi.org/forums/showpost.php?p=2723098&postcount=1

You may right-click and download the tunes from that website just fine if you wish the security of serving them from your own server. I hope you both enjoy them, even if you do not find you wish to include them at your site at this time.

All the best!

Terry Britton
"One Happy Customer!"

http://www.head-fi.org/forums/forumdisplay.php?f=13
http://www.head-fi.org/forums/showthread.php?t=225523

Response from the dulcimer recordings made with the DSM mic's was pretty positive! I have some more recordings here made with the same equipment of some street musicians performing on Trade St. in Winston-Salem, NC, which is the Art District there. These are just for fun, folks - this is just jamming with flute and percussion - yes, and that's me playing the flute, and friends Rico and Tabia and their kids are playing the fine percussion, with my friend Laura wearing the DSM mics. Years ago, I made my living as a street musician during several periods of my life, so this was a fun way for me to relive one of my favorite activities ever! This was recorded back in early autumn of 2001 for a Gallery-Hop event to help out and bring some ambiance to the scene - it was nice and warm and southern-style nighttime summery.

flute_on_trade_st_track_08.mp3

flute_on_trade_st_track_11.mp3

There is no processing on these other than running through mp3 gain to take out any spikes made within the mp3. At 256 Kbps VBR, the longer ones are large downloads (16 and 20 megs) - well, when the download finishes, there you'll have a nice file, so it's worth the wait for the reverbs! (On most browsers you may simply click the link and it will play in Quicktime as it downloads into your cache.) Music critics, just don't even bother! This is for the ambiance and fun of the live energy outdoors of a summer street scene! (Well, the music is enjoyable, and several folks listen to this as a CD in their car a lot, sure... but listen to this for the "vibe" - the reverb tails and sonic energy of it all!)

Again, musically, this is no big deal (especially the flute player!), but the experience of the street ambiance is fun! There's even a distant train whistle on the first track, and you can hear people's car radios and a distant trumpet in a couple places. The flute is quieter than the drums just like really being there it is, etc. Unplugged and raw! Enjoy!

Hopefully, some great organ tracks will be coming soon! The organist wishes to remain anonymous as these were just recorded as school demos, but in my opinion the performances are very nice and the sound is quite incredible! So, watch this space for those!

Terry
__________________

"What you visualize is what you could create... So... Be Careful What Sorts of Images You'll Accept to be Put Into Your Mind!
(By you or anyone else!)"

Terry's recording gear: Headworn DSM-6S/M mic and Sony PCM-M1 DAT deck with MOD-2 mic powering upgrade installed.

Willem Breuker Kollectief Johnny D's Uptown Lounge

Somerville, MA USA, September 22, 2004 - Founded in 1974, the Willem Breuker Kollektief has been bringing their joyous and virtuosic blend of jazz, European traditions and Dutch humor to a worldwide audience for well over 25 years now.

"Rarely has any band, inside or outside jazz, combined instrumental virtuosity and antic irreverence so thoroughly."

--The Boston Globe

For more than three decades, saxophonist-clarinetist-composer Willem Breuker and his 11-member Amsterdam-based Kollektief have been a leading force in European new jazz.

A circus of sounds and stage high jinks punctuate their improvised music--one minute mining a hot Euro-jazz groove, the next tearing into classical repertoire with vaudevillian bliss.

The Kollektief, one of the most refreshing large ensembles on either side of the Atlantic, has intrigued global audiences since 1974. Its joyous big-band sound, the eclecticism and complexity of Breuker's compositions, and the dependable tightness of the ensemble continue to inspire musicians worldwide.

Click Photo for Website

Dear Leonard,

You mentioned that you may want to put some of the bagpipe files on your website and I thought you might want the performers name. He is Greg Campbell from Stillwater Oklahoma. He is a former Vet Med Professor from Oklahoma State University. The recording was made at the Marland Mansion in Ponca City Oklahoma. I used the DSM 6S/M with a LiteGUY on a Shure S15A 15' aluminum telescoping stand with a Sharp SR60.

Please Be Good! - Mark Ragsdale

TOP NEWS:

HIGHLY RATED MULTI-TRACK MIX DESTROYS TCHAIKOVSKY INTERPRETATION !!!

A Conductor's intentional presentation is too often drastically changed with multi-track choices of mic placement and inappropriate mix. Not not talking about amateurs, but highest value International company with 5+ decade's in classical/instrumental music. Two recordings made of same Tchaikovsky's 'Francesca DA Ramini' recorded with multiple orchestra placed mics running into DSD multi-track recorder, and also audience perspective with HRTF stereo-surround mic recording exactly as the audience heard and enjoyed. The audience perspective recording gives evidence of shortcomings with multi-track mixdown decisions that resulted in an almost unrecognizable release 'version.' When compared to conductor/audience perspective musical experience, the multi-track version is indeed more 'grand' sounding, AND almost totally lacking MOOD expression. This is serious damage to music appreciation, and in my opinion is NOT an isolated incident, too often goes unnoticed, and is making classical recordings for zombies having little or no feeling for dynamic/mood inducing passages. Sensitive arrangements and dynamics fully express mood in performed works, but the feeling is quickly killed off by blind multi-track methods having no sense of the original presentation. If only the production company made a second recording for REFERENCE. Using conductor and/or audience positioned HRTF mic with 360° virtual human perspective recording accuracy. With an accurate recording for comparison, then it will be MUCH MORE DIFFICULT to make WRONG MIX DECISIONS that now are changing or greatly eliminating the dynamic and emotional cues in the original conductor-managed, audience appreciated presentation.
The damage done to original performances with flawed multitrack practices continues to degrade live recordings with unrecognized impunity. However, 'interpretation distortions' from inappropriate mixes are MOST VISIBLE when (and most lucky to have) conductor/audience mic'd 2'd recorded version for COMPARISON. Comparison allows direct experience to fuller understanding to what's being LOST in some recorded versions by companies expected to know better!. Both versions are excellent audio-quality recordings, make NO mistake about this. However, ONLY the HRTF mic'd audience version has fully intact loud-to-soft musical dynamics. Also intact is individual instrument's intentional relative sound mix that's often unique with a musical passage. This seems especially audible in the disappearing 'Bassoon' selection. In other words, the conductor's work to insure sensitive and emotional interpretation in the live performance is in great jeopardy, easily destroyed, with little notice in the multi-track recorded version.		PROBLEM: Present day multi-track lacks conductor's heard, or even audience perspective recording ability. Suggest HRTF conductor's perspective recording at least used AS REFERENCE to choice of mic placements, critical multi-track mix decisions for chance of retaining the integrity of the original performance's live presentation. There's good reason to consider HRTF stereo-surround recording for classical performance production. Give a listen to more fully realize what is missing in most modern multi-track performance recordings
		Graph at left shows two versions middle portion of full performance with clearly visible differences in volume levels. Side-by-side listening comparison makes most aware of the contrived, inappropriate dynamics, and significant loss of emotional feeling in the commercial version. Please note, both versions volume matched for having identical maximum finale loudness only for fully accurate dynamics comparison. Notice in the above graph HRTF version has smaller (less loud) 'as-was-conducted' mid-performance, where in comparison the mulitrack version shows likely judged inappropriate, hyped loudness in middle passage. Relative level and dynamics is not respected with artificially 'hyped' multi-track version. You can now compare and decide which version you like more. Download and listen to both for rare occasion of comparison AND having a choice of synthetic or organic interpretations. Let me know impressions, and thoughts about live release quality. ALSO, more to know and say on the Taperssection.com thread "TCHAIKOVSKY WHACKED BY PRO PRODUCTION?" Suspect many will find both versions equally appealing for what's personally enjoyed, and appreciated, at least at first. Interesting question to ask is after hearing a few times, which version has best chance for lasting respect and enjoyment after a lifetime of auditions?

The Air Force Band of the Golden West

Monday, February 12, 2007 7:00 PM Umpqua Community College, Roseburg, Oregon

"The Air Force Band of the golden West is wholeheartedly committed to reflecting the diversity of our great nation."

Captain R. Michael Mench, Jr.k Commander; SMSgt William A. Castleman III, Band Manager; MSft David R. Parker, Noncommissioned Officer in Charge.

NOTES: Partial of total program VBR MP3 encoded from high definition 24bit/88.2k stereo-surround master. Recorded left of center 2nd row audience; see photo. 50+ very mature enthusiastic audience filled ~90% 1000 maximum.

ALSO note the 3.5 min VBR MP3, and longer, higher quality encoded vorbis.OGG file, and extremely large master quality wav extended versions of TRITTICO (3rd movement).

RECORDING SYSTEM: HRTF (headworn) DSM-6S/M stereo-surround mic + PA-25A mic amp + Microtrack 24/96 recorder + BC-MT4 external USB deck power.

The United States Air Force Band of the Golden West appears through the couresy of the Commander, Air Mobility Command. If you have comments on the performance, please write to: General duncan J. McNabb, Commander; 402 Scott Drive, Unit 3EC, Scott Air Force Base, IL 62225-5310

Mile Post Eight's 4th public appearance

While driving by Culvers after all day errands in neighboring city Roseburg, heard the clear sound of a trumpet sounding through the open doors.

A new group to the area was playing and the owners had thrown wide the antique 'meat market' doors giving the dinner crowd and surrounding area a few entertaining hours. I arrived near the end of the first set and found the best seat in the house near the side wall (see photo view) recording this impromptu demo collection of cover songs.

MOLLY'S REVENGE

(MINUS ONE Stuart Mason)

CELTIC MUSIC BAND

WHITE HORSE TEA & COFFEE COMPANY LIVE PERFORMANCE

August 22, 2004

Naturally recorded in 2-channel (stereo) surround with Sonic Studios DSM™ HRTF system (shown at left)

VISIT THE WHITE HORSE T&C Company Website

Molly's Revenge Live Performance Clips:

Rover Seldom Sober (7:08 MIN / 10.5 MEG) Quarterpipe SLIPJIGS (5:56 MIN / 9.1 MEG) Small Pipes Set (8:41 MIN / 12.6 MEG) The BIG SET (Finally) (8:41MIN / 13.3 MEG)

PLEASE VISIT MOLLY'S REVENGE WEBSITE

( get their studio recorded CDs!)

Bagpipe Duet

David MacDonald & Jim Spiva

Highland Cathedral,

Amazing Grace

Barren Rocks of Aden

DOWNLOAD ALL as performed

12.6 MEG ~8:41 MIN

NEW RECORDING AVAILALBE ON CD