<<
Subj: Recording my piano.
Date: 12/24/01 5:05:41 PM Pacific Standard
Time
From: gxxxxxxxx@mindspring.com (Gxxxxxxl T. Dxxxxx Fxxxxxx)
To: GuySonic@aol.com
Hello,
I am very much interested in making good recordings of my piano.
I would like to end up with GOOD MP3 files, as you have done at
your website (very nice, by the way).
Here is the best I've been able to come up with. It's obviously
not very good. (The piano does not sound like this.)
http://gxxxxplayerpianos.org/music/Exxx_Kxxxx_Nxxxxxxxxx_23.mp3
My piano is about 50 feet from my PC and I'm running a microphone
wire that distance.
I would like to record directly to a tape recorder, then playback
the recorder/player into my PC.
I would like to spend less than $700 if that is possible.
What would you recommend?
Thank you,
Gabe
-------------------------------------------------------------------------
http://www.gxxxxxxxxxrpianos.org
http://www.mindspring.com/~gxxxxxxxxx/player.htm
>>
Hello
Gabe,
Thank
you for the kind comments about the site's MP3 recordings and
hope you and loved ones are sharing Holiday Joy at this time of
year.
As
you and a few others now seem to realize, recording the way a
piano actually sounds (like hearing it live) involves a special
stereo microphone/method. The DSM method uses two very high quality
miniature microphones Headworn or mounted on a LiteGUY HRTF baffle.
The type of recorder you use is far less important than the microphone
system so even a Sharp type MiniDISC is quite usable for making
excellent quality recordings.
Lowest
costing DSM microphone/deck system suitable for your needs is
the match-spec discounted DSM-6/H ($400) + Sharp MT90 ($170) MiniDISC
deck for $570 total cost.
Better
system is like above, but substituting a DSM-6S/H at $500 for
$670 system cost.
Best
possible (Headworn) system is the DSM-6S/H ($500) + Sony PCM-M1
DAT deck ($850 w/MOD-2) costing over double the base system cost
at $1350 total.
See DSM mic page at: http://www.sonicstudios.com/dsm.htm
See M1 deck review pages at: http://www.sonicstudios.com/d100rev.htm
Regardless
of cost, any of these systems will satisfy the desire for making
excellent real-piano sounding recordings when following the tips
about using the Low REC range on MD; also a good tip to follow
for DAT deck, but not nearly as critical.
See tips page at: http://www.sonicstudios.com/tips.htm
Recording
without the need for someone wearing the DSM microphone requires
an acoustic HRTF (acoustically accurate dummy head baffle) accessory.
The LiteGUY ($750) HRTF baffle is the best available for this
purpose and may be mic stand or boom mounted as shown on page:
http://www.sonicstudios.com/liteguy.htm
NOTE:
To allow direct digital output/input of recordings (into a computer
soundcard) made on a portable DAT or MD deck requires either a
Sony Toslink accessory cable (~$80 for M1 DAT) or the additional
purchase of a standard AC powered MD non-portable deck with digital
output ability ($100-$200) for playing MD discs into a computer
soundcard with proper inputs. Line-Level Analog output is always
available as a lower quality second choice output on either deck
without need for special adapter or 2nd deck purchase.
Please
let me know if one of these system suggestions meets your budget
and requirements.
Payment/Shipping
options are explained on page: http://www.sonicstudios.com/ordering.htm
Best
Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo, Owners
----------------------------
Sonic Studios "17 Years of Making Audio History with DSM
Stereo Microphones"
Featuring Patented Headworn or HRTF Baffled Gear for Field &
Studio 3-D Ambient Sound/Music Recording
---------------------------------
Informative Web Site: WWW.SONICSTUDIOS.COM
Microphone, Headphone, MD/DAT Portable Deck equipment reviews+Tips+MP3
sound files
USA FREE: 1-877-347-6642 1-(541)459-8839 TEL/ 42FAX
------------------------------------------------
A better wish: "A bit of technical knowledge coupled to a
great deal of fearless God-given wisdom serves us best"
<<
Subj: Re: Concert Recording
Date: 9/12/98 12:15:55
AM Pacific Daylight Time
From: (Ali)
To: GuySonic@aol.com
Hi Leonardo,
Thank you for the prompt response. I want to record Tori
Amos in concert.
The sound volume ranges from soft to pretty loud, although not
as loud as a
heavy rock band. Right now I'm using a cheap Aiwa walkman,
but after
hearing what your mics and a DAT player can do, I want to upgrade.
I don't
think I can spend $800 on the Sony DAT player, so I'll probably
go with the
MZ-R50. The 74 min blanks are pretty cheap now if you buy
in bulk;
Crutchfield offers a 10 pack for $30. I do this as a hobby
and I was a
little confused about the power supply needed for the mic.
Could you
elaborate on this:
"If you choose to begin with the MZ-R30 or R50, then powering
the DSM mic
can
be done with very good results with the unmodified stock deck
as an initial
cost savings."
Is it just an external battery pack for the mic or do you actually
wire the
recorder to power the mic? I really like the sound of your
mics, but I
don't have a lot of money to spend. How much would this
cost (mic and power
source) and how long will it take for me to get it after placing
an order?
Thank you very much,
Ali
>>
Hello
again Ali,
Most all Sony recording portable MD, DAT, and Camcorders have
a feature that supplies power to the microphone from the mic input
jack. Typically this power is quiet a bit short of operating
the DSM for acceptable performance, but this power available varies
widely with the model of deck.
The MZ-R30/50 models have the most power available of any tested
model so far and could be used without MOD-2 internal circuit
upgrade or PA-6 external powering adapter with very good results.
I suggest this to keep within your budget and because the MOD-2
or PA-6xx is more an option with these particular models for a
bit better performance or bass control from the DSM.
The PA-6xx adapters have an output plug to plug into the deck
that's identical to the plug on the mics and have a jack to connect
to the mic plug; with these options, nothing is permanently wired
and disconnects or connects quickly.
Right now, only one picture is shown of a PA-6LC3 adapter on page
http://www.sonicstudios.com/access.htm
however, they all look identical.
With the Sony MD, external powering or deck upgrade is almost
not needed as with other models of Sony decks with the Plug-in-Power
feature. So go without it for awhile and consider either
the internal upgrade to your MD deck (most convenient) or using
a powering adapter (perhaps learning to need a PA model with excessive
Bass control switch) only after recording some typical venues.
DSM-6S/L would be a good match to the MZ-R30 or 50 model and cost
$425 (Reg. $450) MZ-R50 is priced about $350, so your total
system cost is $775. This leaves funds for buying blank
discs.
DSM-6S/L is in stock and can be shipped immediately when you're
ready. See the http://www.sonicstudios.com/ordering.htm
page for ordering details and options. You must phone in
the order here, but info on this page will allow you to know your
best shipping choices and prepare for supplying ship to location
for FedEx delivery.
Best Regards in Sound & Music Recording,
Leonard Lombardo
======================
Subj:
Re: WHB + DSM
In
a message dated 12/18/01 5:40:25 AM Pacific Standard Time, Nickweeb
writes:
<<
Subj: WHB + DSM
Date: 12/18/01 5:40:25 AM Pacific Standard Time
From: Nickxxxxxxx
To: GuySonic
Hi
I'm interested in the WHB + DSM microphone combination. I have
a Sony TCD-D7 DAT recorder.
I would like to use the mics for recording outdoor ambient sounds
- nature and urban sounds.
How are the microphones powered?
What is the price of the combination? I am in the UK.
Thanks for your help.
Nick Wxxxx
>>
Hello Nick,
Thank
you for requesting information about a DSM recording system and
for providing good background on your interests and DAT deck model.
The
DSM-1S/M ($550 USD) is an excellent hi-gain/lo-noise model choice
(in stock) if mostly recording lower than 108 dB SPL encountered
in nature and non-loud factory industrial urban ambiance.
NOTE:
Best results are always when the DAT is used in the MANUAL LOW
or -20 dB ATTN MIC input setting, even if Level set knob is
at Max #10 for barely getting adequate -20 to good -12 dB VU
readings. See tips page at:
http://www.sonicstudios.com/tips.htm
However,
if much louder source ambient/effects/music recording (110 to
122 dB SPL) is also of main interest, then the DSM-6S/EH or /H
($600 or $500) may be a better choice, but these models are NOT
so good for lowest noise spoken word and quiet background nature
recording.
See
DSM mic page at: http://www.sonicstudios.com/dsm.htm
The
WHB/N ($190 USD) is essential for doing outdoors recordings and
provides protection from Sun/Rain/Wind interference. Best to order
DSM model with WHB/N together as one-piece premounted assembly
for best performance and consistent stereo image.
The
stock D7 DAT will not power the DSM microphone well enough so
an in-series PA-6LC2 ($175) model is suggested for this function
and this model adapter also has an 85 cycle (On/Off switchable)
bass filter for lowering the ever-present rumble of auto traffic/or
very strong wind sound. The filter helps to provide a cleaner
recording of urban/rural ambient where >85 cycles mid to upper
audio frequency range is of prime interest.
See
DSM mic powering page at: http://www.sonicstudios.com/pa_x.htm
System
cost summary:
DSM-1S/M
. . . . . $550
WHB/N . . . . . . . $190
PA-6LC2 . . . . . . $175
EMS ship . . . . . $ 25 (See Overseas Ordering section on page:
http://www.sonicstudios.com/ordering.htm
)
________________________________
TOTAL $940 USD payment sent with your shipping address/tel# to:
Sonic
Studios
1311 Sunny Court
Sutherlin, OR 97479 USA
Best
Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo, Owners
----------------------------
<<
Subj: Microphone purchase - pre-order questions
Date:
10/16/98 4:20:31 PM Pacific Daylight Time
From: (Jamie )
To: guysonic@aol.com
Dear Leonard & Debbie,
I ran across your web site, and after comparing your products
with
similar ones I've decided to take the plunge with you guys. I
just
wanted to give you a little background about me and what I hope
to get
out of recording, as well as ask you a few questions and see which
microphones you would recommend for me.
I am strictly a hobbyist, I have a strong interest and get great
enjoyment out of manipulating sounds and creating samples on my
computer, and I want to take the next step of actually recording
my own
sounds and effects, and sounds of nature. I would also like to
make
spoken word type recordings of friends and family members to preserve
memories. I really have no desire to record at concerts, although
I will
probably record the sounds of an antique music box, and possible
some
acoustic guitar. The ultimate destination for all my recordings
would
either be computer .WAV files, or CD-R discs. I don't think any
of these
goals are particularly demanding, but I am a bit of a perfectionist
in
my hobbies, which is why I've already purchased a Sony PCM-M1
DAT
recorder and equipped my computer with a Turtle Beach MultiSound
Monterey sound card with an S/PDIF I/O board in preparation for
going to
this next level. I left the microphone purchase for the last because
I
know that just as speakers are the most important link in sound
reproduction, microphones are the most important for sound recording.
Now on to my questions. First of all, from looking at your DSM
chart, I
see that you recommend the DSM-1/x series for the types of recording
I'm
most interested in. I am wondering how strict your max SPL ratings
are,
and what happens if I exceed them? Particularly, if I buy the
DSM-1/L
(for instance) and try to use them at an air show, would it physically
damage them or just not make a clean recording?
REPLY: No damage, just probable overload of either the Mic and/or
the deck with mostly the louder lower frequency portions of the
Fly-By sounds. Going in Line input would eliminate deck
overloads (with using a necessary separate PA mic powering module)
if VU signal levels are adequate after the 20 DB less gain afforded
by that input. The DSM-6S/EH is more versatile for handling
greater SPL, but for mostly nature, moderate level EFX,
and conversation recording performance with the least possible
mic/deck noise, the DSM-1 models does have my preference. Either
one will give you excellent results for acoustic quitar type levels
within 1-2 meters distance and in general terms .......... it's
more a question on how versatile you need your 'only' mic to be.
Do
you think it would make a tangible difference in my applications
if I
were to go for the upgraded PRO+ level for extra careful matching
of the
channels? I will be processing all my recordings through the computer
and I can alter the levels of each channel manually, using the
program
Cool Edit Pro. If I get a non-signature set of microphones, would
they
be consistently mismatched in such a way that I could apply a
level
increase or reduction identically for each recording?
REPLY: DSM-x(S) grade is more than better matched at just
one frequency. The 'PRO' grade deals with the entire bandwidth
where stereo imaging of complex acoustic sources can be audibly
better. This characteristic is not easily DAW normalized
because it's frequency variable. I am discounting some of
the PRO grades by as much as $100 from listed prices right now,
so you should consider getting the better grade if still affordable.
Finally,
what sort of sensitivity do I need to capture the lowest sounds
I'm after? I'm talking about bird calls, or someone talking in
a quiet
room from 10' away or so. I think I'm leaning toward the DSM-1/L
model,
which I think would give me the right level range, but what do
you
think?
Thanks a lot for your time, and I hope to place my order with
you very
soon after I get a reply.
Jamie
>>
Hello Jamie,
Thank you for expressing interest in our unique recording products
and providing details on equipment and requirements.
Having the M1 deck mic powering feature MOD-2 ($85) upgraded is
advisable for the best utilization of deck/microphone and for
the most reliable and compact system.
If best low noise performance is important for mostly recording
natural sounds of birds, nature, and human vocal, I'd go with
the DSM-1S/M or L for the most satisfying low noise reach for
these sources.
Later, you might expand your interests to much louder sources
where one of the DSM-6S/M or H microphones would be more appropriate.
The DSM-6S/EH would be the choice for having just one most versatile
microphone that would be quite adequate with moderately close
held conversation especially when within an average size reflective
room, acoustic instrument sounds of quitar, piano, and choral;
also allowing an excellent range of EFX recording from soft to
moderate loud sources.
You've got plenty of time to check out whatever seems a good fit,
exchanging for full purchase credit to a more suitable model if
found necessary.
BTW, I've just finally taken the plunge into the DAW to
CD world myself ...... For continuing support of various
local musicians who desire to record/produce CD projects and for
my own nature recordings of wildlife/EFX sounds at remote locations
......... where I can actually produce mastered CDs via laptop
portable system or also use a second Tower-Based DAW in the office.
Technology can be really fun if money and time were no object
to expressing and realizing creative urges.
Let me know of any other considerations by phone or E-mail anytime.
Best Regards in Sound & Music Recording,
Leonard Lombardo
----------------------------
<<
Subj: Microphone for DAT Effect Recording
Date: 12/5/01 2:43:14 PM Pacific Standard
Time
From: mxxxxxn@yahoo.com (Mxxxxxxxl Bxxxxn)
To: GuySonic@aol.com
I'm looking for a microphone to just record ambiance
and sound effects, such as a train in the distance to
use in a film.
COMMENT:
Most sound designers who do this kind of work use DSM-6S/EH or
/H models for this ($600 or $500); best when used mounted with
WHB windscreen headband. See DSM mic page/Chart at: http://www.sonicstudios.com/dsm.htm
I bought a TCD-D8 and had a radioshack
condenser mic w/ a XLR to a stereo mini jack plugged
into my D8. All i recieved was a left channel. Do I
need two stereo mics plugged in at the same time to
get L/R channels?
COMMENT:
Use M-XLR-F1.5 $35) adapter for getting both channels (safely)
with a single XLR mono type mic; adapters shown on page http://www.sonicstudios.com/access.htm
I'm obviously new to this and thought I could use a TCD-8 or PCM-M1
to do dialougue
for a 16mm film and then bring it in and synch it up.
Can you help me out or offer a product that you sell so I can
get stereo sound? I really need a shotgun
mic to place on a boom..... Thanks for your time.
Michael
______________
>>
Hello
Michael,
Many
film projects on a budget are addressing real-time sound recording
in stereo. This may actually be a better choice for stereo sound
quality reasons.
As
you may know, a MONO shotgun or cardioid directional mic (with
windscreen) mounted on a fishpole boom or body mounted lapel mono
mics on the talent (RADIO TRANSMITTED) is the usual for capturing
close-up dialog of up to 3 people. This is most practical when
only a small or tightly spaced group is in the scene. These types
of recording methods records a fairly low quality but adequate
for dialog mono sound; but, it is often replaced with sound booth
sync dialog and cataloged or foley acted sound effects in post.
Mostly,
scene dialog is usually not mic'd with stereo (cardioid pair or
single stereo shotgun) mics because aiming is often too critical
and stereo image from these mics is very inconsistent. Mono is
more consistent for voice sync or post production edit mix purposes.
However,
some low budget projects do record the scene in real time using
an ambient stereo microphone such as the DSM-1S/M
($550) with WHB ($170-$190). This model of DSM microphone
is a low noise, high gain model for mostly dialog and low level
ambient recording. Headwearing the DSM mic and using a Sony DAT
or Sharp MD will record EXACTLY (virtual reality surround sound
stereo) what the person wearing the mic is hearing at any chosen
position within the shoot.
For
getting more reach, the same DSM microphone can be fishpole boom
mounted (fishpole,
adapters, & 3CCD DV camera shown is not included)
with a LiteGUY baffle ($600; weighs ~2 Kilogram) to extend out
to nearly 3 meters for capturing sound from any perspective within
boom reach.
ALSO
See HRTF LiteGUY baffle page at: http://www.sonicstudios.com/liteguy.htm
2 meter DSM Mic extension cable is most useful with boom work
and is $35.
PCM-M1
DAT with mic powering MOD-2 is $850 (review at: http://www.sonicstudios.com/d100rev.htm
) or any Sharp MD can be used or is $170 with mic system; models
shown at: Best Sharp MiniDISC Models Past and Present
Since
you already have a D8, you might consider powering any DSM mic
with the PA-6LC2 ($175) that also has an 85 cycle bass filter
that is better used (switch this on) when recording dialog in
urban area especially with automotive/industrial motor background
noise.
See DSM mic powering and Bass filters at : http://www.sonicstudios.com/pa_x.htm
Payment/Shipping
or Ordering options at: http://www.sonicstudios.com/ordering.htm
MP3
of dialog, music, SFX at: http://www.sonicstudios.com/mp3.htm
Let
me know with a call or e-mail if these suggest make sense for
your requirements.
Best
Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo, Owners
----------------------------
Subj: Re:
SS Mics
In
a message dated 12/16/01 1:35:56 PM Pacific Standard Time, mike@disintegration.ca
writes:
<<
Subj: SS Mics
Date: 12/16/01 1:35:56 PM Pacific Standard Time
From: mike@dixxxxxxxxxxxn.ca (Mxxxx Pxxxxxxxx)
To: GuySonic@aol.com
Hi,
I have a couple questions about your mics and shipping I was hoping
you could help me with.
First, here's some info on my recording gear... I tape as a hobby,
mainly large rock shows, usually in stealth mode. I prefer to
tape near
the speakers since it cuts down on the crowd noise. I have a Sony
PCM-M1 (no mod) which I plan to use for all taping. Presently,
I use a
set of Sound Professional binaural mics, with a Sound Pro 9V battery
box
with level control and switchable bass roll off filter.
I'm looking to get a new set of microphones, and I think your
DSM-6S/L would best fit my needs. What I'm wondering is if I my
existing
battery box would be sufficient for powering the mics. I live
in
Toronto, Canada, and with the Canadian dollar so low right now,
if I do
need a new battery filter, i may have to wait a month or 2 to
get it.
Since I live in canada, i'd rather not send my M1 through the
mail/customs for the mod.
For shipping/payment, I guess the easiest way would be for me
to get
a money order from the post office in US funds - would you be
able to
cash it if I get it from Canada Post ? I would likely send it
via
courier. I would probably get the US Global Express shipping.
The next
show I'll be taping is in the last week of January, so I'm hoping
to get
new mics before that.
Thanks,
Mike
>>
Hello Mike,
The
DSM-6S/L (or /EL) model seem the correct choice for your recording
interests and style.
The
powering box you now have would seem to work well enough judging
from recent experience of a customer in Uruguay who also used
a similar powering module that used a 9 volt battery. Because
of this report (see
customer feedback section of FAQ PAGES) I am fairly
certain you can get good results using your existing module and
going in MIC input at -20 dB ATTN setting on the DAT.
Send
$450 USD + $20 shipping = $470 USD here with your mailing address/TEL
# to:
Sonic
Studios
1311 Sunny Court
Sutherlin, OR 97479
I
will send a DSM-6S/EL model discounted to $450 to make sure you
have best ability for good clean recording near the PA.
Let me know if this sounds good for your needs.
Best
Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo, Owners
----------------------------
Sonic Studios "17 Years of Making Audio History with DSM
Stereo Microphones"
Featuring Patented Headworn or HRTF Baffled Gear for Field &
Studio 3-D Ambient Sound/Music Recording
---------------------------------
Informative Web Site: WWW.SONICSTUDIOS.COM
Microphone, Headphone, MD/DAT Portable Deck equipment reviews+Tips+MP3
sound files
USA FREE: 1-877-347-6642 1-(541)459-8839 TEL/ 42FAX
------------------------------------------------
A better wish: "A bit of technical knowledge coupled to a
great deal of fearless God-given wisdom serves us best"
<<
Subj: Ordering DSM Microphones
Date: 12/6/01 10:01:31 AM Pacific Standard
Time
From: Richard.xxxxxxxx@ed.gov (Lxxxxxxxxx, Rxxxxxxx)
To: GuySonic@aol.com ('GuySonic@aol.com')
Dear GuySonic;
I am about to order your DSM-6S mics, but want to be sure I'll
be getting
the right ones. I am using a Sony MZ-R909 MiniDisc recorder (and
occasionally a Sharp 722) to record acoustic classical music concerts
with
seats as close to the stage as possible. The source is soloist,
string
quartet, classical size orchestra and, sometimes, modern size
orchestra. My
current mics are the Sound Professional premium binaurals, with
battery box,
that I attach to my wrists under (but not covered) by my jacket
(yes this is
a stealth job). The results in places like the Haydnsaal in Austria,
Queen
Elizabeth Hall in London and Jordan Hall and Symphony Hall in
Boston have
been quite good - but - there is a certain brightness and lack
of
transparency that, while not ruining the recordings, makes me
think that
better microphones might eliminate. Also placement on the eye
glasses might
make a significant improvement in the sound field (my one concern
in this
regard is their visibility and my subsequent arrest and torture).
These
recordings are primarily for listening to through stereo speakers.
So, please let me know what you feel would best fit my needs and
equipment -
and what it will cost. I'll then place an order.
Thank you,
Richard Lxxxxxxxxx
richard_xxxxxxxxxx@ed.gov
>>
Hello
Richard,
DSM-6S/H
or /EH ($500 or $600) are good choices for this kind of recording.
See DSM mic chart at: http://www.sonicstudios.com/dsm.htm
Headwearing
DSM in some suggested fashion (that's comfortable for you) will
record EXACTLY what you are hearing at the concert in full bandwidth
surround sound that's excellent for speaker playback. See mic
placement and concert recording tips at: http://www.sonicstudios.com/tips.htm
The
Sony MD you now have will not power the DSM (correctly) and lacks
effective mic REC Level settings. Better to use ANY Sharp MD deck
(optimum quality in the LOW mic input range; see http://www.sonicstudios.com/tips.htm
) for best results.
DSM
mic powering options include the PA-6 ($75) if ordering from overseas
and intend to be using a locally acquired Sony portable DAT deck
without MOD-2 upgrade; see DSM mic powering page at: http://www.sonicstudios.com/pa_x.htm
Payment/Shipping
options are discussed on the ordering info page at: http://www.sonicstudios.com/ordering.htm
Acoustic
instrument/orchestra MP3 recordings with DSM mics can be found
at: http://www.sonicstudios.com/mp3.htm
Best Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo, Owners
----------------------------
<<
Subj: hey now
Date:
10/21/98 3:01:07 PM Pacific Daylight Time
From:
To: GuySonic
Dear Friends..
I am trying to gather some good info on some quesions i need answered.
I have a D-100, and I am looking for some info on mics.
I am interested in taping in clubs....but mostly in larger venues
for phish, wsp, allmans, TOO, that sort of thing. I want
to keep it at around a tousand dollars....that would be mics and
pre amp if i need one...if i ddin't need one i could put the whole
grand into the mics...but whatever combination i need to keep
it at around a grand..give or take...any info would be killer...
blue skies...
kevin >>
Hello
Kevin,
Thank you for expressing interest in the DSM microphones and other
accessories.
It seems you may have already visited my web site listed below(?)
and would like further recommendations on suitable mics.
For your stated music interests and D100, the DSM-6S/L ($450)
should be a good match.
The D100 should also have the MOD-2 ($85) upgrade to allow a mic-powered-by-the-deck
direct connected system when not needing bass reduction (see
MOD-2/PA-x
Mic Powering Page for more details about
this).
If the venue you're recording is not excessive in bass or bass-boom,
then directly powering the mic with the D100 MOD-2 is the best
system in terms of simplicity, reliability of fewer connections,
and compact system size.
For situations where bass is known or found to be excessive, the
using one of the PA-6LCxx ($125-$200) powering adapters in series
with the mic/deck is useful to deliver the clearest sounding recording
and helps prevent the deck from overloading on the 'way-excessive'
bass portions. The bands you mentioned have not been known
for way-excessive bass, but times are changing with increased
bass and boom effects more popular and is easier to produce and
abuse with the newer Hi-Power and efficient PA systems
D100 & M1 Preamplifier is quite good (no real advantage with
common external
mic preamp. when using DSM mics) and is usually used
in the Mic Input (only), ........... Manual (not Limiter or AGC),
................ -20 db Atten (not 0 db) settings .......... for
Rock type venues.
A suggested system is:
DSM-6S/L ............
$450
MOD-2 ................ $85 (service here is done within
48 hours, FedEx returned to you with DSM mic)
PA-6LC3(B) ............$200 (Optional 85/170/250 or "B"
45/85/175 bass filter)
Ordering
info is also at: http://www.sonicstudios.com/ordering.htm
For the MOD-2 upgrade on the D100, send
"just the D100' deck in a sealed (from dust) plastic bag that's
double boxed and/or double bubble wrapped within a single box
to:
Sonic Studios
1311 Sunny Court
Sutherlin, OR 97479
Send Via FedEx Saver, UPS 3-Day Select, or other carrier that
supplies a tracking number and insure for the deck's full value.
Include a Money Order or Cashiers Check payable to Sonic Studios
with:
Your (for FedEx return shipping) weekday accessable address (or
the address of a FedEx Hold office near you) and your daytime
telephone number (or TEL# of any non-FedEx convenient address
you've chosen for return shipping).
Looking forward to further questions and your complete satisfaction
with all the equipment choices.
Best Regards in Sound & Music Recording,
Leonard Lombardo
-------------------------
<<
Subj: Your stealth mics
Date: 10/22/98 10:46:53 PM Pacific Daylight Time
From: Andrys
Reply-to: netcom.com
To: GuySonic@aol.com
CC: .net
A couple of us are trying to decide between Core-Sound basic binaurals
and yours. I know Core Sound requires a battery in certain
situations.
We're musicians who like to study concerts after
hearing them. But
stealth requirements apply :) even then.
The interest is classical music in classical halls,
from mid orchestra
and sometimes balcony.
If yours does not require a battery for the same
results, then that's
of interest for the extra price, though I think your cost is double.
I have to look again to see if you have a bass attenuator
(sp?)
switch, but thought I'd drop this note for now.
Let us know what the differences really are in your
mics. I've seen
the newsgroup controversies, Core-Sound's testimonials, your reviews,
and am very confused at what to expect.
Thanks.
- Andrys
>>
Hello
Andrys,
Thank you for expressing interest in the DSM product.
For your purpose of classical acoustic, the DSM-6S/EH (special
$450 for now; or perhaps H) model would seem a good fit.
(See http://www.sonicstudios.com/dsm.htm )
Powering the DSM is best done from a Sony DAT with MOD-2 ($85)
upgrade (see MOD-2/PA-x Mic Powering Page )
For your purposes, you would not need bass reduction as this is
appropriate for amplified Rock which is commonly much louder and
boomy in the bass frequencies as compared with the rest of the
program.
DSM as compared to the Core, Oade, and Sound Pro microphones:
With the other makes, You're getting less than your paying for
in terms in recording performance, ease of using, sensitivity
match to the deck for the requirement, and long term reliablity.
Clarity of upper frequencies, handling noise immunity, precision
electrical/acoustic/mechanical design is guaranteed to far exceed
lower (and very much higher) costing options; providing you with
much higher value for money spent.
Please also advise on what model deck you're intending to use.
I'm sorry to say that some Core Sound testimonials and secret
comparison files sent out directly (I have been sent these sent
directly here by his propective customers) are not honestly what
they appear to be .......... Caveat Emptor.
Best Regards in Sound & Music Recording,
Leonard Lombardo
============================================
Subj:
Re: DSM stereo mike
Date:
10/23/98
To:
Hello Betty,
Thank you for your expressed interest and for providing details
on your deck & recording requirements.
I will attempt to answer most of your questions within your message
copied below.
The MOD-2 upgrade on your D7 is most recommended and involves
you sending just the deck quickly to me (dust protected in a plastic
bag and double boxed or bubble wrapped) via overnight service
with a Money Order for $530 (see details below). This covers
the cost of mic, deck mic powering upgrade, and overnight FedEx
return to you so that you can most likely record your event on
Oct 29.
Provide a FedEx return address + Tel number for a 'return to you'
location. If more convenient, call FedEx at 1-800-238-5355
.. press * key for customer service, and write down the complete
FedEx office 'pickup/Hold location address that is found to be
close to your weekday activities so that you can pick up there
until 8 PM weekdays...... 2 pm Saturdays. I still need an
address for you and Telephone number + FedEx office address.
Because time is very short, FedEx office is open Saturday until
2 PM in most locations for shipping here to arrive on Monday.
Money Orders are availabe from many Grocery type outlets.
If you prefer, just send deck and I can send COD back to you for
Money Order or Cashiers check payment at that time. Ordering
details is at http://www.sonicstudios.com/ordering.htm
I know from experience that using the deck instead of the PA-6
is much more desirable for the recordists ease and consistant
recording quality from better reliability of fewer inter
connections. This is why I'm stressing this method with
you sending in your deck quickly.
However, to save you the effort of sending in your deck quickly,
perhaps order the PA-6 for powering and I will take this back
in trade for doing MOD-2 later +$25 extra to cover some refurbishment
and FedEx shipping of the upgraded D7 deck back to you.
Best Regards in Sound & Music Recording,
Leonard Lombardo
----------------------------------------
<<
Subj: DSM stereo mike
Date:
10/22/98 11:03:56 PM Pacific Daylight Time
To: GuySonic@aol.com
dear leonard and debbie
I've read the specs on the DSM stereo mike with great interest-
i speak
of the one which can be mounted on eyeglasses etc.
i am a professional musician-composer, performer, teacher and
have an
extensive audio library on cassettes, and now dat .
i have the following questions:
i use the TCD-D7 to record concerts and rehearsals.
the concert situations can be in chamber music halls with
fine
acoustics to large symphony halls with the usual environmental
ambiance
of boomy bass...
(1) does this mike need a separate battery box or is the mike
and
battery self-contained?
(2) also is there a switchable bass roll-=off filter?
at times i would be recording from quite a far distance from the
sound
source -
upper balconies of large concert halls etc.
REPLY: I would suggest no bass reduction for this type of
music. Powering the microphone is best done with having
the mic powering MOD-2 upgrade done to the D7. The second
option is with using the PA-6 (both options cost $75) ............
or PA-6LC2 $165 with on/off switchable bass rolloff filter
(see MOD-2/PA-x Mic Powering Page for details)
(3) does this mike pick up reasonably well at such far distances?
REPLY:
Records virtually the same as heard from any location.
(4)
is the mike suitable for both small groups and large symphony
orchestras?
REPLY: DSM-6S/EH is excellent for both situations. However,
location is what's most important. Being within 15 foot
distance (or closer) to small groups is an advantage. Balcony
positions can be very good, but audience noises (coughing, seating
squeaks, etc) is greater, and some reduction of the upper frequencies
(by air absorption from distance) is to be expected with greater
than 7 row seating in most halls
I record mostly acoustic music
(5) can this mike be used with camcorders?
REPLY: Yes, (with using the PA-6 power method), but most all camcorders
are using ALC or AGC mechanisms that squash the dynamics of the
music and have inferior sound recording performance in general.
Sound quality is a distant 3rd consideration to video quality
in these machines.
(6)
WHAT SETTING would I use on the dat machine - low or high
sensitivity....... and is it possible for me to use automatic
record level?
REPLY: Use Manual setting if you care about the expressed musical
dynamics and mostly use the (L) Low sensitivity (-20 db
setting on other decks) for getting about -12 db VU peak readings
unless more gain is needed to accomplish this. Use (H) setting
ONLY when Manual Level knob is at #10 full up and not able to
get to -12 db VU for loudest passages.
NOTE: D7 gives better sound if VU maximum peaks are set to be
about -12 db..... don't adjust level for quieter passages, but
leave at settings that correspond to only the loudest peaks.
(See http://www.sonicstudios.com/tips.htm/ )
I am referring to the lower priced mike which I think you list
at $450.
the DSM-1 or DSM-6
for my needs would the DSM-6 do?
REPLY:
The DSM-6S/EH is reduced to cost (for now) $450 and is only model
(in stock) that would seem to fit your needs best.
thanks
for your attention.
I'm attending some concerts next week - Oct. 29th on.
so I would like to order with enough time to receive the mike.
I can have it delivered at a local Fed Express if that's the most
efficient way.
Is it more costly that way than having it delivered to my post
office?
Hope to hear from you soon,
betty W
>>
========================
<<
Subj: DSM Microphones
Date:
11/1/98 9:57:29 PM Pacific Standard Time
From: (Günter)
To: GuySonic@aol.com
Kindly send me more information about your microphones. We have
a professional recording Studio since 25 years, specialized in
recording acoustical and ancient classical music - i.e. S/N ratio
should be low.
Are your microphones worth a try in this regard?
Besides our Recording Studio (Allen & Heath/LYREC 16 track
and DIGIDESIGN)
we often record in Churches, concert rooms etc. and we also
use Jecklin OSS with Neumann KM 54
We are a distribution Company too, (Authorized from LINN, T&A
and AUDIO PHYSIC etc.) selling audiophile records and CDs as well
as Audiophile Equipment. We have good contacts to Radio Reporters
- we recommend and deliver also their "on the road" equipment
too.
Do you have any distributor in Austria or Germany , where we can
make a test recording with your Microphones?
We will exhibit our products at MIDEM 1999 in Cannes - maybe we
can meet you there too?
Best regards from Austria
Günter Menschik
music@domino.co.at
DOMINO Musik + Produktion +Vertrieb
Inh. Günter Menschik
A-5270 Mauerkirchen
Untermarkt 15 - Austria
T. ..43 7724 2158-11
F. ..43 7724 2158-22 + -23
>>
Hello
Günter,
Thank you for expressing interest in my DSM microphones.
A Web Site ( WWW.SONICSTUDIOS.COM , also listed below) has most
all the information about the microphones and is most complete
over any mailable information.
Many users of DSM microphones have very similar to your interests
in acoustical recording and are making excellent quality live
recordings for distribution. A microphone model that should
fit your needs is the DSM-6S/EH for a special price of $450 US
dollars. See http://www.sonicstudios.com/dsm.htm for
complete information on the DSM microphone models.
Using and Powering the DSM microphone is best done by an upgraded
TCD-D100 or PCM-M1 Sony portable DAT. However, if a new
upgraded deck purchase from here is not practical or desired,
then powering the microphones with a suitable PA-xx powering module
is suggested. Model PA-6 is the minimum powering module,
but the PA-10PFC ($225 USD) may be more appropriate for
best quality DSM to XLR-3 preamplifier
inputs for location recording. More information on the DSM
powering is found at: MOD-2/PA-x Mic Powering Page
The Jecklin disk method has many problems in providing a truly
coherent ambient stereo recording that holds up well for many
recording and playback conditions. The DSM headworn method
will give the very best recordings and is the most economical
and versatile method for consistent results, but two 'GUY' dummy
head baffle models are also available for more 'conventional'
type remote mic-stand mounted microphone uses.
Signal to
Noise performance is very good for being an exceptionally accurate
small full pressure type microphone. Preamplifier
and Mic noise is rarely a problem when the recording position
is optimized and is fairly close in distance from the sound stage
or instruments of interest.
Please let me know of other considerations. General Ordering
method is described at http://www.sonicstudios.com/ordering.htm
Reviews about the DSM microphones are linked to the Home page
and found at: Sonic Studios Review Page
Best Regards in Sound & Music Recording,
Leonard Lombardo
=======================
<<
Subject: Help: Portable DAT
From:
(Daniel and Associates)
Date: Sun, 01 Nov 1998 19:06:33 -0500
Can anyone recommend a portable DAT for interviews and the recording
of
general street activities (street musicians, sounds of the city,
etc.) at
close range. Also, is a mini-disc a better bet for this type of
recording
or will the mini-disc go the way of Beta video tapes? Finally,
any
recommendations for microphones for the portable DAT/Mini-disc?
Thanks in
advance. Take care.
Daniel
>>
Hello Daniel,
You've unfortunately asked the wrong group (or at least got the
usual poor info response from those few regulars who posted a
reply) for practical advise on field equipment. This has
been the story with this group of studio 'gurus' for quite some
time.
My site has the information you desire about the microphones and
recording equipment specifically for this purpose. The TCD-D8
is a good deck, but the TCD-D100 is a better investment for the
extra money spent for the a much improved recorder of exceptional
recording quality with all the built-in features missing from
the D8. MiniDisc is a great way to get an inexpensive recorder
of very good quality for your purposes and will not be out of
date for at least 4 years.
The DSM-6(S)/EH or H is an excellent interview microphone and
the Sony MZ-R30 or R50 can power the DSM directly without additional
powering concerns.
URLs on my site to look at are:
For microphones http://www.sonicstudios.com/dsm.htm
For Mic powering: MOD-2/PA-x Mic Powering Page
For Ordering: http://www.sonicstudios.com/ordering.htm
Reviews linked to the Home Page are also useful. A few hundred
media interviewers now use a DAT or MiniDisc with the DSM mic
system with full appreciation of the quality and ease of field
use.
Let me know of other questions you might have anytime.
Best Regards in Sound & Music Recording,
Leonard Lombardo
======================
<<
Subj:
Date:
11/13/98 1:24:45 PM Pacific Standard Time
From: (Darrel)
To: guysonic@aol.com ('guysonic@aol.com')
Dear Sirs,
I am currently a sound tech for a local blues guitarist and do
most of my
recording and sound work at a church where he is an associate
pastor at. He
has always insisted to try to get the mix as as live as you can
get. Well
you know what problems I run into there that is why I need a stereo
microphone of your caliber could you please send me a catalog
with prices on
your mikes and products I would really appreciate it.
Thank You,
Darrell
>>
Hello
Darrell,
Thank you for expressing interest in the DSM recording system.
The DSM mic method will give you the results almost impossible
to achieve with any other means regardless of budget.
I now have two mic baffles allowing the DSM process to be mounted
on a mic stand for greater freedom, but you should 1st try the
mics using a person worn method to best determine the best positioning
and mix of all the acoustic elements in the ambient.
The DSM-6S/EH or H would seem a good fit if working mostly with
acoustic non-amplified sources.
If amplified and relatively non-acoustic, then the DSM-6S/H or
M may be better suited.
If you can access my web site, there is more info there than is
practical to send via surface mail, but I can also send informative
material
to your supplied address if browsing is not practical for you.
Look to the Mic chart at: http://www.sonicstudios.com/dsm.htm
for more details and the mic powering page at: MOD-2/PA-x
Mic Powering Page for DSM powering considerations.
A portable TCD-D100 or PCM-M1 DAT deck is about as good as it
gets for direct to two channel recorders in an all-in-one unit.
Please let me know about the need for surface mailing and any
questions that arise from the information presented on either
source.
Best Regards in Sound & Music Recording,
Leonard Lombardo
===============
<<
Subject: Good mic for sampling to MD in field?
From:
(Zoo)
Date: Thu, 19 Nov 1998 00:21:09 -0500
I am getting a Sharp MD-MS702 Minidisc recorder to gather and
archive
samples of sounds I hear every day
for incorporation into my sample library. They will be uploaded
to an Akai
S5000. What is a good durable mic for
this purpose, something that costs less the recorder itself, (approx.
$350) and could hold up to outdoor use?
--
See my web page about me and my music at
http://www.geocities.com/
>>
Perfect
application for the DSM microphones that's being extensively used
with DAT and MD portables for this exact purpose and many other
field sound requirements. See the mic chart at: http://www.sonicstudios.com/dsm.htm
for the models, but probably a DSM-6(S)/EH or H would work the
best for general city type sound ambient work.
Also, read some of the reviews linked to the site's home page
listed below.
Also See: MOD-2/PA-x Mic Powering Page for powering
options, but if your MD is a Sony R30 or R50 and you don't record
massively bassy rock music sounds, then just plugging into the
Sony MD models would work very well without further considerations.
Best Regards in Sound & Music Recording,
Leonard & Debbie Lombardo
===================
<<
Subj: Mics
Date:
11/28/98 9:49:30 PM Pacific Standard Time
From: (GK)
To: guysonic@aol.com
Hi Leonard,
This is a long one, hopefully you're patient :)
I'm considering getting your mics or dare I say it, Len's mics.
I
currently have a sony D8 dat deck. I'm interested in recording
Broadway musicals: phantom,les miserables, miss saigon,
rent, etc.
etc. These shows are NOT high spl recordings. What
would you
recommend?
First off, let me tell you what I was thinking of buying from
Len.
Core sound binaural (battery box) and the Zefiro Inbox.
The zefiro
inbox sounds very good just because it'll work well with my digital
only sound card. The zefiro cost is no more than if I were
to sell my
d8 and upgrade to an d100 or m1.
Does the mod-2 make my D8 pre's sound almost as good as a d100/m1?
I'm asking because I'm wondering if I should upgrade to the d100.
What I really want to know is what is the best solution for my
D8 in
the $600 price range (total).
thanks
Glenn K
>>
Hello
Glenn,
If you can afford the upgrade, the TCD-D100 is by far a more practical
choice with excellent preamplifier
(for at least unbalanced mini-mic type inputs) and does contain
a precision Dual 20 bit AKA Semi A to D convertor. The D100
also has almost everything not so great about the D8 corrected
in spades, and is much smaller and sturdier of transport.
D100 Powering is a consideration that is easily handled, but not
nearly as straightforward as the D8 which can take simple alkaline
cells for 4+ hours operation. Talk to me about this when
you decide......... I have the D100 with the mic powering upgrade
in stock for only $825, but you can buy this via mailorder for
a few dollars less and later send me just the deck for the $85
dollar MOD-2 upgrade anytime later.
The DSM-6S/EH, reduced to $450 for a little while more, is a very
precision matched, extra high gain) model that seems the best
match for doing mostly acoustic theater and moderate loud orchestral
venues.
Core doesn't seem to distinguish real precision matching or model
sensitivity ....... that's a more customer specific requirement,
other than rock level handling ability in their CSB models.
Maybe only upon special consideration, but I know from getting
plenty of previous Core customers, you'd much happier in the long
run with all the mechanical build, acoustic, specific sensitivity,
ease of recorder setup, and recording quality benefits of the
DSM product.
==========================
<<
Subj: advice
Date:
1/22/99 7:12:09 AM Pacific Standard Time
From: Darren
To: guysonic@aol.com
I am a fine artist working primarily with sound and space. I am
currently experimenting with recording the subtle ambient sound
of
essentially 'silent' spaces for playback within a quiet gallery
environment. I am looking to upgrade the very basic equipment
that I
have been using up until now. As I am recording the actual background
sound/ silence/noise that defines a space, (such as the gentle
humming
of the lighting and ventilation systems in a museum), the type
of
equipment that I use will affect the outcome and so it is crucial
that
it is just right!
I do not have much in the way of technical knowledge regarding
microphones, playback and recording systems and so would appreciate
some
advice as to what would best suit my purposes. Your DSMs look
very
interesting and perhaps ideal for the sort of recording that I
am
engaged in. I am unsure which would be the best system for me
to use.
The important factor is that the self noise of the equipment is
very low
and that it will record very subtle ambient sound. I will be recording
on to a Tascam DA-P1 portable DAT recorder.
If you could advise me as to whether your microphones would be
suited to
my requirements, and if so what I would be best using, with any
further
information that would be of use(including details of prices,
shipping
and customs charges to the U.K.), I would be very grateful.
Many thanks,
Vicky P
____________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
>>
Hello
Vicky,
Thank you for expressing interest in our unique microphone systems
and for providing details on your project and available recording
equipment.
The DSM-1/H or M are very high sensitivity/low noise mic models
and can be powered by the PA-10PFC adapter (with dual XLR output
connectors) that's compatible for the DA-P1 deck doing the work
you describe. The DSM-1 mic models have excellent low noise
performance for their small size. The need to accurately
capture the 'acoustic feeling' of any ambient space in a recording
needs the use of very small sized precision matched omni type
microphones placed on the two sides of persons head (or LiteGUY
baffle) in the areas shown on my web site.
This is an eloquent, easy, and very effective way to get the type
of ambient recording you described as your main interest.
I see no problem with the above suggested DSM system for achieving
your recording goals except for one area of consideration about
the DA-P1 DAT deck itself.
This is mostly an excellent deck, but earlier DA-P1 models have
had one major problem with using any mic that is not a true balanced
input type.
Most DAT decks with balanced XLR mic inputs will accept both balanced
and unbalanced mic inputs without need for concern (Unbalanced
= pin 3 -signal internally connected with ground pin 1 on the
mic's XLR connector).
However, earlier production made DA-P1 model decks had an engineering
ground-loop type flaw that only showed up when connecting an unbalanced
type mic (like the DSM+PA-10PFC) where nearby AM radio stations
could clearly be heard as interfering with the microphone audio.
Authorized Tascam technical service know to remedy this if your
deck displays this characteristic. If your DA-P1 is a recently
manufactured model, chances are good there is no problem with
using any type of microphone.
Also, when using the DSM + PA-10PFC system, it's very important
that the '48 volt Phantom mic supply switch' be in the 'OFF' position
when using the DSM microphone and for achieving lowest noise
performance.
I'm sorry about this technical consideration, but it's very important
to both of us that you are extremely satisfied with using our
microphones with your existing recorder(s) if you choose to purchase
a system.
================================
<<
Subj: recording ambient sounds
Date:
1/5/00 12:25:01 PM Pacific Standard Time
From: Douglas
To: guysonic@aol.com
Hi-
I want to record ambient sounds in remote locations, where reliability
is very important and the ability to record low levels of sound
is also necessary.
Before I buy one of your expensive microphones I have some questions:
(1) Is stereo recording any less sensitive than monaural?
I am new to the field so my
questions may sound stupid.
REPLY:
Sensitivity is more a function of mic diaphragm size. Larger
is better for sensitivity and lower mic self-noise, but smaller
is better for overall tonal accuracy and high frequency recording
ability.
(2) I don't want to have to wear the mike. I want to store
the entire
recording apparatus in a Pelican
case for safe transportation.
When I arrive at a suitable
location, I want to open the case,
position the microphone, and
start recording.
REPLY: DSM-1S/H $550 + Dual Layered Windsock WHB $165 + PCM-M1/M2
DAT deck $800 + BC-1 external DAT battery system $80 + LiteGUY
HRTF Baffle $500. You'll need to purchase a suitable folding
portable mic stand $75-$150 from a supplier. This is the
system I'd recommend for the recording you've described.
(3)
Is there any way to monitor what's being recorded in real time?
I like the Sharp Minidisc recorder
but can't tell whether it
is possible to listen to what's
being recorded through the
headphones.
REPLY: You can monitor if keeping a distance from the microphone
as to not record any sound coming out of the phones using any
portable deck.
(4)
What's the MTBF on the Sharp MS722?. I plan on about 240
hours
of recording and have no feeling
for recorder reliability.
REPLY: Although you may use the 722 MD, I would not recommend
using any minidisc for ambient nature sounds as there is a subtle
to very distinct alteration of recorded sounds (depends on the
sound) due to the lossy compression used by these devices.
A DAT deck is more suitable for your purpose
(5)
Will your DSM microphones work at low temperatures?
REPLY: Yes, as long as condensing moisture is not a factor; going
from warm to cold can cause non damaging moisture to temporarily
form on the diaphragm and dampen high frequency sound reception.
All decks are also sensitive to this. Keeping all sensitive
equipment sealed in a waterproof bag with moisture absorbing disiccant
and allowing the sealed away equipment to arrive at the lower
ambient working temperature before unsealing will greatly help
to avoid this when working in the field.
Thanks in advance,
Douglas McIntosh
>>
Systems
suitable for your requirements are better served by a DAT deck,
headwearing the microphones for long periods while seated quietly
or using the HRTF baffle mounted on a tripod stand as described
above. The windscreen is an absolute requirement as well
as the ability to run the deck on external long lasting batteries.
Let me know if you're still interested in a system or have further
questions.
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
http://www.sonicstudios.com/liteguy.htm HRTF baffle
Regards in Sound & Music Recording,
Leonard Lombardo
============================
<<
Subj: Mic Advice
Date:
2/3/99 4:39:11 AM Pacific Standard Time
From: (Tim P)
To: guysonic@aol.com
Just checked out your web page from an internet cafe in NE Thailand.
A friend of mine bought one of your mikes for bootlegging, and
I was
in shock at the quality of the recordings that it's capable of.
I
never heard any live stuff, but he just showed it to me in my
room
while I played acoustic guitar quietly --- absolutely amazing
frequency response.
As a hobby I record folk insturments and hill-tribe festivals
and
church choirs. I've been using a cheapy Sony stereo mike
that ran me
about $75 US in
