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(Continued from page
9)
Anyway, use matched
mic models for recording in a form of stereo. Use the-anything-handy
& placed-anywhere-you-feel-like method when you want recorded 2- or more
channel multitrack that has no relatable stereo content.
Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo
----------------------------------------
<<
----------------------------
From: "Brian net>
Subject:
Importance of Matched Pair vs. better Frequency
Response
Date: Mon, 22 Nov 1999 13:08:41 -0500
I'm currently shopping for a pair of mics to be used primarily for stereo
recording. Ideally I would like to get a matched pair but in my price
range ($800 or less for the pair) there doesn't seem to be many choices.
In the same price range I can find a non-matched pair of mics that have a
better frequency response than a matched pair of a different mic. To
make
matters worse, some manufacturers claim that their quality control is
consistent enough that 2 mics of the same model will get "good results"
when used as a stereo pair.
>>
Matched Pressure type omni type mics when used with a HRTF baffle records
some of the most gorgeous and detailed stereo you'll have the pleasure to
hear.
A full bandwidth and exact "mirror image" left/right channel precision match
is something close to "state of the Art" for most mic manufacturers to offer
and very difficult to near impossible to achieve with directional or cardioid
types of the mics due to complex directional producing wave cancellation
mechanisms within the capsule and the mic body that have normal tolerance
variations.
Without the exact match, whatever stereo image is obtained is less than
consistent and gives hard to predict imaging ability.
If quality stereo recording imaging and bandwidth is important to you, there
are very few affordable and just a few more very expensive mic systems that
satisfy most or most all of the time under a wide variation of live
settings.
One of the best and most affordable of these is the Head Related Transfer
Function (HRTF) baffled system that uses dual precision matched omni mics
designed (& Patented) specially for this purpose by my company (Sonic
Studios).
The Dimensional Stereo Mic (DSM-tm) is a 360 degree full surround mic system
that is also Dolby Pro Logic decoder compatible. The stereo imaging
of DSM-6S mics is very smooth (continuous) and frequency stable over a range
of 5-25,000 cycles and have the most precision guaranteed match (<0.25
db @1K <1db 20-21,000) ever offered for stereo recording.
Directional or Cardioid mics inherently to not have stable (stereo) image
characteristics, impossible to get (effective) precision matched, and
are most difficult to position and aim for producing really satisfying (stereo)
recordings. The reasons for this would fill a chapter or two.
On the other hand, most of you are recording PA'd performances in less than
suitable positions where there's little choice or have need for professional
commercial release quality.
Where and when the need arises for producing a professional sounding recordings
of such events, very careful choosing of position and aiming of crudely matched
directional
mics may work out quite well some of the time with a little luck.
However, in my opinion and of professional/amateur DSM users, the HRTF stereo
method using a wide-bandwidth matched pair like the DSM mics produces some
of the most usable recordings even in the worst positions and the most satisfying
when in or near the best recording positions.
I'd suggest looking at some of the mic & dat/MD equipment reviews, taping
tips, and .mp3 downloadable recordings available at WWW.SONICSTUDIOS.COM
to learn more about HRTF stereo recording using matched mics, taping techniques,
and dat/md portable recording systems.
BTW to attempt an answer to your second query, microphone sensitivity
rating is the electrical output (in dB, 1v RMS = 0dB, .001v= -48
dB) of a certain microphone with a certain input or loudness of
acoustic sound (usually stated at 85db SPL = 1 uBAR Sound Pressure
Level equivalent) . Knowing this allows to determine if a
mic has enough or too much electrical signal output for a particular
recorder mic/line or external preamplifier
input.
Sonic Studios DSM mics are available in 8 sensitivity ranges (see the chart
@ http://www.sonicstudios.com/dsm.htm ) to both avoid deck input
overloads while also having adequate signal for any particular range of
sound/music recording requirements.
Regards in Sound & Music Recording,
Leonard Lombardo
----------------------------------------
In a message dated 11/22/99 1:41:17 PM Pacific Standard Time,
DAT-heads-Request@datheads.phish.net writes:
<< ------------------------------
From: "Brian .net>
Subject:
Importance of Matched Pair vs. better Frequency
Response
Date: Mon, 22 Nov 1999 13:08:41 -0500
I'm currently shopping for a pair of mics to be used primarily for stereo
recording. Ideally I would like to get a matched pair but in my price
range ($800 or less for the pair) there doesn't seem to be many choices.
In the same price range I can find a non-matched pair of mics that have a
better frequency response than a matched pair of a different mic. To
make
matters worse, some manufacturers claim that their quality control is
consistent enough that 2 mics of the same model will get "good results"
when used as a stereo pair.
Does anyone have any thoughts as to which is more important, a matched pair
or a pair with a better frequency response?
To be more specific, right now I am trying to compare Audio Technica's
4041's (available in matched pair) and AKG's 391's (Blue line series) which
have a better frequency response but are not available as a matched pair.
Both are small diaphragm cardioid condensers.
Thanks for any advice!
-Brian
--- >>
Hello Brian,
Matched Pressure type omni type mics when used with a HRTF baffle records
some of the most gorgeous and detailed stereo you'll have the pleasure to
hear.
A full bandwidth and exact "mirror image" left/right channel precision match
is something close to "state of the Art" for most mic manufacturers to offer
and very difficult to near impossible to achieve with directional or cardioid
types of the mics due to complex directional producing wave cancellation
mechanisms within the capsule and the mic body that have normal tolerance
variations.
Without the exact match, whatever stereo image is obtained is less than
consistent and gives hard to predict imaging ability.
If quality stereo recording is important to you, there are just a few affordable
and a few more very expensive mic systems that satisfy most or most all of
the time under a wide variation of live settings.
One of the best and most affordable of these is the Head Related Transfer
Function (HRTF) baffled system that uses dual precision matched omni mics
designed specially for this purpose by my company (Sonic Studios).
The Dimensional Stereo Mic (DSM) is a 360 degree full surround mic system
that is also Dolby Pro Logic decoder compatible. The stereo imaging
of DSM-6S mics is very smooth (continuous) and frequency stable over a range
of 5-25,000 cycles and have the most precision guaranteed match (<0.25
db @1K <1db 20-21,000) ever offered for stereo recording.
I'd suggest looking at some of the mic & dat/MD equipment reviews, taping
tips, and .mp3 downloadable recordings available at WWW.SONICSTUDIOS.COM
to learn more about HRTF stereo recording using matched mics, taping techniques,
and dat/md portable recording systems.
BTW to attempt an answer to your second query, microphone sensitivity rating
is the electrical output (in dB, 1v RMS = 0dB, .001v= -48 dB) of a certain
microphone with a certain input or loudness of sound (usually stated at 85db
SPL = 1 uBAR Sound Pressure Level equivalent) . Knowing this allows
to determine if a mic has enough or too much electrical signal output for
a particular recorder mic/line or external preamplifier input.
Sonic Studios DSM mics are available in 8 sensitivity ranges (see the chart
@ http://www.sonicstudios.com/dsm.htm ) to both avoid deck input
overloads while also having adequate signal for any particular range of
sound/music recording requirements.
Regards in Sound & Music Recording,
Leonard Lombardo
----------------------------------------
<<
Subj: Question.
Date: 11/15/99
12:35:43 AM Pacific Standard Time
From: YANAGISAWA T)
To: GuySonic@aol.com
Hello.
My name is Takashi, mail from Japan.
I am a tape trader using DAT,and also record rock concert.
I used core-sound microphone,
but I will change the microphone to make it's sound better.
My friend uses your DSM-6S/L and PA-6LC3B.
I used his microphone set once,it worked very well!!
He said "This is very strong against bass sounds".
How much is the microphone set ?
Me,I often go to rock concert,
for example Rolling stones,Aerosmith,Eric Clapton.....
I go to rock festival outside,too.
Which microphone do you recommend me ?
And which microphone do "rock fans" use ?
Please advise me.
Thank you.
--
YANAGISAWA .ac.jp
>>
Hello
Takashi,
Thank you for expressing interest in the DSM microphone system and for including
details of your Music interests and DAT equipment.
The DSM-6S/L ($450) and PA-6LC3B ($200) combination has been very successful
for recording current Rock concert venues in Japan. This system would
cost total of $675 US Dollars that includes the US Postal International Express
Shipping.
If you would like to order this, simple way is to send Japan International
Postal Money Order for $675 US payable to Sonic Studios via 1st Class
International Air mail to:
Sonic Studios
1311 Sunny Court
Sutherlin, Oregon 97479 USA
Please include your Shipping Address and Telephone or Message Phone
number. I will send everything as a personal "gift" to allow for best
process time and economy.
Mic models suited to your music or sound recording tastes are listed at:
http://www.sonicstudios.com/dsm.htm
Powering & bass filter considerations are discussed at:
http://www.sonicstudios.com/pa_x.htm
General Ordering information is at:
http://www.sonicstudios.com/ordering.htm
Regards in Sound & Music Recording,
Leonard Lombardo
----------------------------------------
<<
Subject: Another $400 mike question
From: .com
(ns)
Date: 06 Nov 1999 00:39:22 GMT
What is the best single-point stereo microphone less than $400. It
must NOT
require phantom power--or any strange, difficult to obtain battery.
The best recommendation I've received so far is the Sony ECM-999. If
you have
an alternate choice, please let me know.
Good bass performance is mandatory. This mike will be used for pipe
organ
recording.
Thanks a bunch,
Norm , Seattle WA
>>
Hello Norm,
Your post for a reasonable way to record the full bandwidth of a pipe organ
in stereo is best done with two full pressure type omni microphones.
None of the single point microphones, ribbon microphones, or any of the other
types posted as suggestions will work out for at least lack of pressure type
bass response regardless of what the posts claim and for other just as important
stereo imaging requirements.
However, using these two (pressure type) omni microphones
spaced out in some manner is not enough for recording the spatial ambient
sound in stereo that's also very important for making a satisfying large
size acoustic instrument recording.
A baffle needs be used placed between the two mics for the ambient stereo
aspect to also be recorded faithfully.
Jecklin Disk type baffles are OK and far better than NO Baffling, but lack
some important (HRTF) features for consistent results.
My site listed below has tips, reviews, mics, baffles, and sample sounds
of pipe organ recorded with Sonic Studios (my own company) DSM designed mic
systems.
Suggested mic model: DSM-6S/H (headworn or using the LiteGUY HRTF
Baffle)
Some URL's to view:
http://www.sonicstudios.com/mp3.htm (see St. James Cathedral, Seattle
recording)
http://www.sonicstudios.com/liteguy.htm
http://www.sonicstudios.com/reviews.htm
(Continued on page
11)
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