DSM* Headworn or HRTF Baffle Mounted Microphones fully utilize
natural psycho-acoustical cues involved in normal spatial
hearing of ambient surround sound. DSM is NOT a traditional
Binaural in-ear recording method. As such, DSM mics
DO NOT have the headphones only playback limitations typical of
Binaural "in-or-very-near-ear" microphone methods. DSM
mics faithfully allow consistent emvironment recordings with precise
virtual reality (VR) surround imaging for both headphone and
multi-channel stereo/surround speaker playback with 'you-are-there'
live realism. Also, unlike binaural sound, works well when presented
in lowest denominator monophonic as is common with radio productions.
DSM recording's result in stereo/surround
multi-channel environment sound perceived as 3-Dimensional,
virtually realistic & very convincing; retaining the full
emotional effect of all live sound experiences.
The DSM method of
ambient sound recording has proven extremely effective in capturing
the total sound spectrum of: voice, vocals, musical instruments
large & small, natural background ambient, staged music
& theater performances, ENG and news interviews, sound effects
(EFX), music & sound samples, point-of-view (POV) film &
video location sound, and sound for virtual reality (VR) media
program & game projects.
Mic Pickups Description:
(2) Very small, tip of finger sized mic pickups with full-service
eyeglasses type cord/leash molded construction with rubber loops
for versatile 'stealthy' head mounting.
allows easy and secure mounting to many types of headworn
apparel such as "eyeglasses mic", sweatband, hat or cap, mounted
on the WHB windscreen headband or DSM-GUY or LiteGUY or VideoGUY
'dummy' head HRTF baffles for extraordinary stereo recordings.
recording method uses ONLY the head's HRTF effect (NOT
the ears as in Binaural!) to naturally record full spectrum
multi-channel surround & mix-to-mono media capability 3-D
personally worn, DSM mics will not interfere with normal hearing,
vision, and are very resistant to generating any noise from mechanical
Mics are a unique (patented) type of 'Spaced-Omni' HRTF BAFFLED Mic that produces recordings with
UNIVERSAL playback compatibility; this is NOT a Binaural HRTF
array mic, but a different kind of HRTF Stereo-surround ambient
mic / method.
In addition, DSM recordings have automatic NATURAL-sounding
2-channel DTS/Dolby® ProLogic® encoding for full Theater/MUSIC
5.1 - to - 7.1 channel Surround-Sound speaker playback realism!!!
Exceptionally versatile for Professional & Amateur
&Dolby ProLogic® are ®registered trademarks of Dolby
Suggested 2011 2-Channel Stereo-Surround Configured Portable System: DSM
mic powering 24bit flash recorder + most appropriate choice of DSM
remote location limited recording time with long runtime
external deck power systems.
recorder mic inputs do not power DSM mics, and/or are too noisy for
some purposes. These require at least DSM mic powering
and often only external preamp solves
digital deck's too noisy mic input issues.
costing solution for some deck input noise issues is LINE level audio
from external PA-3SX
(-U) or more featured PA-24
(series) preamp models.
Record IT in Stereo
Exactly Like you Hear it...
No Limits..... NO Excuses . . .
or HRTF Baffle mounted, DSM makes it easy to get it right the
first time, AND is the only totally commercially compatible stereo
MIC that consistently records everything in the environment exactly
like you hear it at the MIC position.
NO MIC coloration distortions or frequency bandwidth limitations;
NO nasty surprises later in post edit.
A most consistent perfect for recording any environmental sound
RECORD the full rich sounds of: Guitar,
Vocal Groups of all styles, Live Performances of any kind, 2-Channel
studio mix tracks, and collect Keyboard samples of anything anywhere
with any recording deck, laptop external soundcard, or camcorder
with line/mic inputs. It just can't get any easier than this.
*NOTE: DSM-6(S) available in (5) Five Sensitivity (Gain) Ranges & DSM-1(S)
in (2) Two Ranges Best Suited (Not Limited) to Specific Requirements
HRTF 4+ CHANNEL SURROUND-SOUND RECORDING SYSTEMS
Surround 5.1+ Compatible Recording
Application Specific Models ~$3500-$8500+
Battery Powered 4-Channel
XLR Balanced or Hi-Power Video Cable Driving DC-Servo Preamplifier
for specifics on custom 4 and 5.1 channel systems
Ideas' engineer David Lukesic recording impact sound effects
using 'Harry,' a built-to-order Sonic Studios surround-sound
4-channel DSM +
baffled mic array mounted on a fishpole boom.
also personally headwears this same 4-channel mic array
(sans LiteGUY baffle) in less hazardous, more socially
demanding projects where keeping lowest mic recording
'visual impact' within a crowd of people is desired.
High Pass Filter; 45-OFF-90 cycles LoCUT; DC Coupled!
Small Pager-Like Size; Protected Switches, Gold
mic preamplifier (3 MODELS) designed specially for DSM-1S/6S
mics. Ideal for
remote location ambient recording using MD, DAT, Compact
Flash, Hard Disk, or most deck's analog LINE input for up
to 24bit/192kbps digital recording requirement. THE most
precision/practical extreme wide-bandwidth battery powered
stereo mic preamplifiers available today.
size, single stage DSM powering preamp with a bit less bandwidth
/ gain / features of the most versatile 2-stage servo PA-24
- $510 USD
configured above with miniXLR input jack fitting R-09 digital
recorder LINE level input.
mini-XLR-3F preamp mic input jack / universal preamp output
configuration to fit newer digital deck input(s). (Requires
$50 upgrade of DSM mic to mini-XLR-3M plug and output ADAPTER
patch fitting specific deck model being used.)
Portable Preamplifier $450.00 USD
USD version shown with optional miniXLR mic input jack)
cost, highest precision
compact 'pager' size
low input noise
hrs (2)L91 AA cells
-3 dB Bandwidth
ON/Low-battery/ near clip LED
low-voltage DSM electret mics
with other types of condenser/dynamic self powered mics
looking for a battery pack for running so many hours,
and know the external
pack internal battery size, do the math with:
Voltage x Ampere Capacity = Watts (pack
EXAMPLE: BC-MR4 for
KORG MR-1 deck shown at right. This external pack
has over 35 watt capacity using 4 C alkaline cells that
when divided by 2.5 watts needed by MR-1 = ~16 hours runtime.
type of battery pack 'recharges' in seconds anywhere
with fresh cells inserted.
the selling retailer does not list the pack's internal
battery voltage and ampere capacity, but
try to find this going to the pack maker's web page technical
description for best chance of finding this. Most of these
external rechargeable packs use just ONE 3.7 volt lithium
battery at some ampere capacity.
hours runtime is far more than most recordists need
for doing an evening concert or session, and then returning
home to recharge.
much longer battery runtime is
exactly what's very needed for those doing days of recording
in remote locations, where recharging external packs is
not so practical, or those just wanting maximum recording
runtime capacity, and extra reliability of alkaline cells
so remote location powering on batteries is 'never a problem.'
and powerful, alkaline flashlight cell type packs are,
they seem not environmentally kind because they're
using up non-rechargeable cells that end up in a landfill!
MR-1 requires ~2.5 WATTS power
available watts at 5 volts pack output will be (10%-25%)
than that, but you'll know at least ideal run time by dividing
external pack watts by 2.5 deck watts. So be conservative
in estimated running time from any pack until fully 'rundown'
New packs need 2-3 use to ~60% remaining, recharges
to fully wake up
to maximum capacity, and then will last up to 2 years
before losing 20% or more capacity/runtime ability.
So SUGGEST best to BUY NEW having 50% MORE capacity
than expected to actually need.
is less an issue with
packs using much larger capacity D cells having 35-50
Hr deck runtime, needing 'refreshing'
ONLY every year or two(!) if used every month for
recording one or two events.
interesting is most lithium rechargeable pack batteries
fully work same 1-2 Yr. length of time,
and have lost enough reliability/capacity for owners to
be disposed for cheaply
in many use situations, about the same burden
on the environment using either type battery.
Suggesting headphone models is like asking people
opinions on the best available shoe to purchase. Everyone walks
a bit differently and over ever-changing terrain suited to personal
interests and comfort fit requirements.