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(Continued from page
10)
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
E-mail me with questions and about your current recording deck/preamplifier
equipment for best system fit suggestions
.
Regards in Sound & Music Recording,
Leonard Lombardo
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<<
Subject: Re: Microphones - Which is Best?
From: s)
Date: 07 Oct 1999 18:10:30 GMT
Since you've been so helpful, perhaps you cold answer a question for me:
To a large extent my recordings are of choral and pipe organ music. I'm
trying
to assemble a one piece recording setup, consisting of a mike stand, a
small
DAT recorder and an M-S mike that goes down to a very low frequency.
Does anyone make an M-S mike with an omni capsule for the M part, in order
to
reach lower in frequency while still having a decent stereo separation?
All
the ones I've found have cardioid M mikes and a strictly limited low end
Extension.
Thanks,
Norm @scn.org)
, Seattle WA 98l
>>
Norm,
Bass is a tough call for most of the mics you're now considering. The
small omnis have the best chance at getting this, but they're not all equally
good or excellent for deepest bass.
My company listed below has one of the best stereo microphone systems for
recording full bandwidth stereo from 5 cycles to over 25,000 flat response
full ambient surround. If you demand directional or exclusion of 360
ambient stereo field, these mics are not for you.
Spaced omni, jecklin disk, and other 2 mic configurations just don't perform
consistantly well for your application.
For large choral and organ, I suggest DSM-6S/EH or /H, a powering adapter
suited for your deck or use of the PCM-M1 Sony portable with MOD-2, and the
LiteGUY HRTF baffle mounted on a mic stand with or near the deck.
Spend a little time downloading and listening to the shorter St. James Cathedral.
Mp3 clip done in your city in less than optimum conditions for a good idea
of what's possible with this system.
Some of the other sound clip should also prove quite helpful. This
system is being used by many amatuers and professionals worldwide for over
10 years.
See reviews: http://www.sonicstudios.com/reviews.htm
http://www.sonicstudios.com/mp3.htm
http://www.sonicstudios.com/liteguy.htm
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: Question from a new poster
From: .com
(Hat 62)
Date: 09 Sep 1999 23:33:10 GMT
Do you know what the big labels like Sony are doing when they record
clarinet
with piano or with orchestra to 'sweeten' the sound of the performer. I am
mostly speaking in terms of microphone placement. If you have heard some
of the
better known performers live and on records, you can hear that the
engineers
have found a flattering way to record some of the clarinetists today.
I am asking because a friend of mine and I have been doing some
experimental
recordings with some excellent equipment (neumann u89, millenia media pre,
apogee 24 bit converter). The sound we get is mostly accurate, but rather
clinical, definately not 'flattering' to the clarinet sound. I was wondering
if
there was something we hadn't thought of.
Thanks in advance for your thoughts.
>>
You might
consider a completely different microphone method that records an ambient
stereo more nearly to how you hear the sound at the recording position.
This type of recording (download some of the .mp3 music samples on my site)
consistently provide a very complimentary sound of all acoustic instruments
at fairly close to further out distances.
Distance or mic position is a variable that is best determined by actually
normally listening for the better mic positions. The mics and methods
so far discussed will not allow you this convenience as they do not record
like or what you're hearing.
A mix of direct instrument to acceptable ambient sounds will be different
for each room, instrument, and desired effects appropriate for the
composition. Listen for what's acceptable, then DSM record it at this
chosen position with this stereo microphone.
DSM-6S/EH or /H models are suggested either headworn or with the HRTF GUY
or LiteGUY mounting baffle.
Regards in Sound & Music Recording,
Leonard Lombardo
----------------------------------------
<<
Subject: Help!-Tips about recording pipe organ.
From:
@hotmail.com
Date: Thu, 09 Sep 1999 09:56:07 GMT
I am supposed to record pipe organ at a small church next week.
But I am completely new to recording pipe organ.
I want some tips about it.
Pipe organ will be played solo with audience(about 200).
I am going to record it on video camera tape(DV foramt or Betacam
format) Mics availabe will be sm58, NT1, shotgun from sehnheiser for
video production and lavalier(this is not appropriate, is it?)
What I am most wondering is the recording position.
Close micing or away?
And what should I check before recording?
Reverb? kind of pipe organ? any thing else?
You could save me.
Kukchan Hwang from South Korea ^>^
Sent via Deja.com http://www.deja.com/
Share what you know. Learn what you don't.
>>
An ambient
stereo microphone method seems to be the most satisfying for Pipe Organ as
the entire building is part of the sound and it's best to record this with
a coherent spatial mic method such as the DSM featured on my site.
The DSM-6S/H microphone model is suggested. The Lite-GUY baffle is
also suggested. The MD-MS722 miniDISC or PCM-M1 DAT portables are excellent
for this purpose.
Download St. James Cathedral.mp3 (Short) clip for a unique recording music
perspective in a very large ambient.
Questions are always welcome.
Regards in Sound & Music Recording,
Leonard Lombardo
----------------------------------------
<<
Subj: [ProAud] Headphone Listening
Date: 9/6/99
11:48:35 PM Pacific Daylight Time
From: (Stephen W)
Sender: owner-pro-audio@pgm.com
Reply-to: pro-audio@pgm.com
To: pro-audio@bach.pgm.com
Bauer cross feeding network, Headroom filters network, Dummy Head
Binaural recording -- all are only slightly noticeable improvements, for
the most part the sound is still inside your head. Spatializer gives
a
little forward/rearward emphasis over conventional stereo in headphones
and can make a sound source move around inside you head, but not
outside. I have heard auralization demos, using complex algorithms
running on powerful computers that gave the out-of-head listening
experience -- used for the recreation of concert hall acoustic listening
of virtual halls, before construction begins, and very impressive.
Also
very expensive and confined to the lab when I heard it.
Other than the above, I have yet to hear anything that "made the
headphones disappear" when activated. Has anyone ever heard any good
out-of-head headphone demos? Steve Desper
==For info on Pro-Audio, send 'info pro-audio' to majordomo@pgm.com ===
>>
My site has
'too high a quality for streaming' but file downloadable .mp3 encoded sound/music
selections recorded with a HRTF baffled omni mic method I pioneered/patented
in the mid 80's and now offer as product on my site via Mail Order.
These are stereo 'psychoacoustical' recordings that are NOT binaural, but
are naturally 3-D Stereo encoded and Dolby 'pro logic' decodeable for full
surround speaker playback.
Headphone listening with full 'outside the head perceived' ambient is only
fully accomplished using headphones like Sony's MDR-F1 with drivers 'floating
in space' forward of the ears and angled to firing back into the ears.
These are the only 'stock' phones that seem to give seamless surround sound
with none of the hard left/right and weak middle sounds common with all other
headphone designs. Sony has a few other models with similar designs,
but these are rather cheap and found to be not very good for critical listening
of details.
While the MDR-F1 is not the ideal phone for binaural (where closed or in-ear
inserted types might be far more suited, it now seems the perfect phone for
recordings made with the DSM microphone method and perhaps those made with
the Soundfield mic (although I haven't tried listening to any Soundfield
recordings to check out the performance as yet).
I have searched and am continually searching for very high quality headphones
that meet professional monitoring requirements of ambient stereo
recordings. So far, the Jecklin 'Float-Phone' electrostatic and the
even better imaging Sony MDR-F1 remain the only phones found suitable for
this purpose.
I'm considering stocking this Sony phone as this particular model is not
easy to find elsewhere. Those interested please E-mail with "MDR-F1"
in the subject line for news of availability.
Regards in Sound & Music Recording,
Leonard Lombardo
========================
<<
Subject: need microphone info. Please help
From:
shark@clover.net
Date: Mon, 23 Aug 1999 02:32:12 GMT
Hello,
My wife is a court reporter and has to go take depositions
daily.
She is having problems with her microphone not picking up speech that is
soft. I was wondering if anyone here knew of a site that could give me
information on what type of mic she should use. Her recorder is just a
small pocket cassette recorder.
I was thinking of using two mics at once hooked
to the single
recorder. Is this possible?
Is there a source for more sensative mics that
anyone knows of?
Thanks for any info you can give me.
thanks
Mark
Sent via Deja.com http://www.deja.com/
Share what you know. Learn what you don't.
>>
Yes, Mark
it's very possible and practical.
But the solution(s) of proper deck and microphone are still not well known
or accepted in this discussion group mostly consisting of studio recordists
using 40-60 year old mics designs and usage methods. They mostly record
in highly controlled (or contrived) ambients with very close-to-source(s)
placed microphones feeding many multiple channel mixing boards. The
very thought of recording constantly intelligible and quality stereo within
normal room ambients make most of these guys break into a cold sweat and
start throwing all sorts of mics from their 'mic closets' into the 'mix'.
First consider a (2-channel) stereo microphone with the ability to pickup
sound more like we actually hear it live as the ideal goal; if you can hear
(and understand the conversation), then you must be able to easily mic it
into a 2-channel 'stereo' recorder. This is a common (and mostly
unfulfilled) desire.
Most 'stereo microphones' (like single point, spaced PZM or spaced dual omni
mics) cannot do this (record sounds like we are hearing them) when it comes
to picking up all sounds with equal clarity from all around or also called
ambient 'stereo' recording. The need to replicate our own ability to
hear ambient stereo naturally is a very special case and requires a microphone
with a coherent stereo reception ability that more closely models our own
pyscho-acoustic Head Related Transfer Function (HRTF) mechanisms of sound
reception. Without the HRTF reception ability, the recorded sounds
loose coherency and the our ability to hear them clearly upon playback as
we did live. The many sounds and reflections of those sounds within
normal rooms makes the using of a coherent microphone method essential for
getting consistently useful and 'natural listening' stereo recordings.
A very, very few ambient stereo microphones, while not replicating very much
of the HRTF mechanism, do indeed accomplish ambient stereo in a more or less
successful manner. The Soundfield mic is an excellent quality microphone
for recording a live sound in normally encountered ambient spaces, but it's
quite large, not easy to use, and very, very expensive.
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12)
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