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 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 sound perceived as 3-Dimensional,
virtually realistic & very convincing; retaining the full
emotional effect of the live sound experience.
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.
Basic DSM
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.
This
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 'dummy' head HRTF baffles for extraordinary stereo
recordings.
DSM
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
ambient sound.
When
personally worn, DSM mics will not interfere with normal hearing,
vision, and are very resistant to generating any noise from mechanical
movements.
DSM
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
sound recording
Dolby®
&Dolby ProLogic® are ®registered trademarks of Dolby
Laboratories
Usual 2006-2007 2-Channel Stereo-Surround Configured Portable System: Compact
24bit Flash Recorder + Low Noise DSM MIC Preamplifier + DSM mic
model most appropriate to sound subject interest.
Extend
remote location limited recording time with long runtime
external deck power systems.
Minimum System: Portable Audio Deck + HeadwornDSM or LiteGUY
baffled Mic
Headworn
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 you hear exactly like you
hear it at the MIC position.
NO MIC coloration distortions or frequency bandwidth limitations;
NO nasty surprises later in post edit.
Effortlessly
RECORD the full rich sounds of: Guitar,
Piano,
Cello,
Drum Kit,
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.
Mini
Deck Safe/Secure Molded Right-Angle OR miniXLR-3M Output Plug
NO
HYPE Natural Sound, Absolute Lowest Mic Diffraction/Coloration
Very
Smooth /Detailed <5-23,000+ Hz 3 dB Bandwidth; 40,000+ Cycle
Response
Records
Naturally Encoded 2 & 4 Channel Stereo-Surround; No Processor
Required.
Exclusive
"Star Quad" Mic Wiring for Maximum Noise Immunity & Signal Purity
True
Pressure Omni Back-Electret Condenser Capsule Construction = Lowest
Distortion
Super
-Precision Channel Match; Gain Stabilized 2 & 4 Channel Pickups = Ultra-Precise Imaging
Extremely
Low Handling Noise; Best over All Other Small Mics by Proprietary
Design
Psycho-Acoustic
HRTF (Head Related Transfer Function) Mechanism
Omni-Directional
Pattern.
Sealed & Rugged All-One-Piece-Molded Design.
Benefit
Features:
DSM
Recordings have Natural Playback with Stereo/Surround Speaker, Headphones
& Mono Systems; No Unpleasant 'Binaural Type' Tonal Shifts!
No
required Pre-Post Processor or Processing for any Direct-to-Recording
Media Application
Application
Specific Features:
DSMs are Application Specific with 6+ Models. DSM-6S Series
= Extra-Low (EL) to Extra-High (EH) DSM-6S Models range in Sensitivity-79/-55dBm
@ 84dB SPL.
Will
NOT Overload, Cause Deck Input or Preamp Overloads, and be Acceptably
Quiet When Custom Configured as a System for a Specific Purpose
and Recorder Model.
Exceptional 2 Year Limited Warranty + 60 Day Customer Requirement Satisfaction
or Full Paid Price Exchange/Refund Policy
NOTE:
Click Image for Samples of Piano Recordings Session
Click
Image for Air Force Band of the West Performance
AVAILABLE DSM Models
Are Specified for Quality Recording of Nature, Vocal, Ambient, EFX,
Music Sound Recording & Acoustic Lab Measurement
*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
DSM™
HRTF 4+ CHANNEL SURROUND-SOUND RECORDING SYSTEMS
Dolby
5.1+ Compatible Recording
Multi-channel
Application Specific Models ~$3500-$8500+
Battery Powered 4-Channel
XLR Balanced or Hi-Power Video Cable Driving DC-Servo Preamplifier
Call
for specifics on custom 4 and 5.1 channel systems
Sound
Ideas' engineer David Lukesic recording impact sound effects
using 'Harry,' a built-to-order Sonic Studios surround-sound
4-channel DSM +
LiteGUY HRTF
baffled mic array mounted on a fishpole boom.
David
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.
More
about sound designers using DSM microphones on the FILM
CREDITS PAGE
DSM In-Series External
Power & Bass Cut Filter Adapters
>With 3.5mm molded Right/Angle mini-Stereo, or upgrade to miniXLR
plug output
ON/OFF
High Pass Filter; 45-OFF-90 cycles LoCUT; DC Coupled!
Very
Small Pager-Like Size; Protected Switches, Gold
R/A Plug
Portable
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.
PA-3SX
(-U)
Smaller
size, single stage DSM powering preamp with a bit less bandwidth
/ gain / features of the most versatile 2-stage servo PA-24
preamp series.
$450
- $510 USD
$480
USD As
configured above with miniXLR input jack fitting R-09 digital
recorder LINE level input.
CONNECTOR
OPTION: PRO/Universal
I/O Switchcraft
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.)
PA-3SX
Portable Preamplifier $450.00 USD
Upgrades
Edirol/Roland
R-09 / R-09HR
flash deck to world-class low-noise/distortion performance for external
microphone connected field recording
($480
USD version shown with optional miniXLR mic input jack)
FEATURES:
Low
cost, highest precision
Exceptional
build quality
Very
compact 'pager' size
Exceptional
low input noise
Low-med-high
gain switch
600-800+
hrs (2)L91 AA cells
7-to-55,000Hz
-3 dB Bandwidth
Power
ON/Low-battery/ near clip LED
Powers
low-voltage DSM electret mics
Useful
with other types of condenser/dynamic self powered mics
For
Interview, Narration, and Lecture Wireless/PA Mic & Recording
Use
NOW with Gentle Hinged Clothing
Clip Mount
Very
Quiet Design; NO Handling or Cord Noise !!!
$175.-
USD
Best
Voice Quality of ANY Lapel Mic in the World, a Great Value
Portable CF/HD Deck Extended Time Powering Solutions
Edirol-Roland
R-1/R-4, Fostex FR2 (CF) /(HD), and
other models too often exclude full featured, fail-safe external
battery connection to the AC adapter jack.
Instead requiring internal 'dummy AA cell' power connection
with small cord leading outside the hatch. NOT an issue
with decks featuring LOCKING power plugs.
Battery
compartmentconnection retains low battery
warning feature, also is most secure connected
method. Helps avoid recording data loss, or CF damage if power
is interrupted.
Portable Deck Power Sleds
BC/BD-SERIES15
- to - 55+ hour external power sleds for remote field operated
decks
Ideal
for M-Audio's MT1/MT2 USB, KORG MR-1, Edirol R-44, and
for more power hungry models.
If
looking for a battery pack for running so many hours,
and know the external
pack internal battery size, do the math with:
Battery
Voltage x Ampere Capacity = Watts (pack
capacity)
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.
This
type of battery pack 'recharges' in seconds anywhere
with fresh cells inserted.
Sometimes
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.
16
hours runtime is far more than most recordists need
for doing an evening concert or session, and then returning
home to recharge.
Having
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.'
However
convenient, reliable,
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!
KORG
MR-1 requires ~2.5 WATTS power
Actual
available watts at 5 volts pack output will be (10%-25%)
less
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'
tested.
TIP:
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.
This
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.
What's
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
getting another!
So
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.
Click
Image for Air Force Band of the West Performance
DSM™
HRTF 4+ CHANNEL SURROUND-SOUND RECORDING SYSTEMS
PA-3SX
(-U)
MONO
Lapel Microphone
Edirol-Roland
R-1/R-4, Fostex FR2 (CF) /(HD), and
other models too often exclude full featured, fail-safe external
battery connection to the AC adapter jack.
