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Vehicle Sound and Effects Recording

In a message dated 1/8/05 7:57:09 AM Pacific Standard Time, Wxxxx05 writes:

I'm about to start recording a series of vehicle engine sounds for my website. Is there any advice that you can give me for this please? I'm thinking about a Sony TCD-D7 recorder but have no idea which microphone to use and whether I am better with this or, say, a laptop computer. I would have thought that DAT tape is better than minidisk because of there being less opportunity for the recorder to jump when clipped into a car. It would also be easy-ish to set something up so that the owner of the vehicle can be lent a machine that's ready to record the sounds themselves.
I'm a complete novice at recording but figure that this should be relatively easy because I'm not looking for professional recording studio quality sound. Just something that can be downloaded from the website.
Kind regards
Mick Sxxxx

Hello Mick,

Thank you for supplying many important requirements for your project. You may need to elaborate a bit more on specific project details for me to make most appropriate and cost effective suggestions. 
A properly configured DSM mic system will make recording most any sound much easier, and of much higher quality that any other mic system on the market.  While many professional sound companies have used these for over a decade for exactly the situations presented below, DSM systems (especially used as suggested) easily allow first-time amateurs get exactly the sounds they want recorded most every time  DSM recording samples at:
There are many different point-of-view microphone placement positions and types of vehicles:
INSIDE: the passenger/driver cabin; the inside the engine compartment of stationary and/or moving vehicle.
OUTSIDE:  vehicle exterior being positioned very close to being in distant far field; and mics directly attached to outside of stationary and/or moving vehicle
very quiet luxury to extremely loud street/racing engine types.  
If you have an extensive, well funded project that will eventually record using ALL TYPES of mic positions, inside/outside the vehicle, and handle all loudness ranges, a most complete recording system with several types of DSM mics, HRTF baffle, and external preamplifier is mostly required. 

This extensive package will connect into LINE level on most any type of portable deck. Purchasing minimum system and then (when budget allows) later adding capability as needed is suggested.
However, more specific requirements is for recording inside/outside vehicles is with (mostly) headworn windscreen mic that records EXACTLY the wearer's heard experience (point of view) in all situations, and used without baffling inside/outside the vehicle for unique sound 'effects' recording.

There is NOTHING WRONG with 'effects sounds' as these become important 'elements' in custom sound designs when post processed and/or mixed with other sounds/effects.

The limitation of 'effects' sounds is the listener has little chance of having a most involving enjoyable playback experience with these types of 'artificially recorded, out of context' and 'non-ambient' sounds, at least without much effort in post process to make them sound a bit more real.

Compare DSM vehicle recordings with any effects vehicle sound and you'll immeditately get the difference between DSM baffled (coherent), and the usual artificially (out-of-context/incoherent) mic'd sound.

An example of a lower cost minimum, but still very versatile mic system that should fit most your requirements, but not for the extremes range is DSM-6S/M mic + WHB/N windscreen + PA-3SX preamplifier for $1150.  This will work into ANY small portable with ministereo LINE input jack and allow easy very good quality recording in most common situations.   
MIC MOUNTING: While the easiest and consistently realistic sounds are recorded with DSM mic being HEADWORN or LiteGUY baffled, placing some kind of baffle/barrier between the mic.  While you can use the DSM mic any way you want for superior wide-frequency bandwidth pickup, stereo-surround image or virtual reality recording quality is most inconsistent to totally nonexistent in non-HRTF baffled configuration. 
For non-HRTF baffle situations, baffling with something (small fabric covered lap-pillow, bound-up cotton towel, etc.) helps keep some of the important stereo image qualities that are immediately lost without true HRTF baffling where the recording becomes more or less an 'effects' sound. 
See Tips/FAQ pages for other considerations:
Best recorders for this are  Sony PCM-M1 DAT (still available in some places), or get on long waiting list for Edirol R1 (CF storage) as discussed on my site on the 'Deck Choice' section in the FAQ PAGES
Ship/Pay options:
Let me know if initial suggestions make good sense and additional project considerations.

Best Regards in Sound & Music Recording,
Leonard Lombardo

Subject: Tap into your expertise (Hummingbird Recording)

In a message dated 12/22/04 9:11:49 AM Pacific Standard Time, writes:

I read through your FAQ on the Sonic Studios website and found it very helpful and informative.  I have a specific challenge I'm trying to address, and did not see any of the questions that were directly applicable to my challenge.  I'm doing a research project where I need to record and slow down hummingbird calls.  I'd ultimately love to get these into digital format to work with them.  I'm very technical from the computer perspective, but have no audio background.  Obviously field portability is of high importance, and for me money is less of a factor.
Really appreciate your help!

Hello Chris,

Your budget, expected working distances (headworn mic or baffled mic on tripod stand at some distance), and recording quality requirements (16bit/44.1K verses 24bit/96K) determine system configuration that best fits your resources and needs.  The mic choice and how this is being used is >90% of the equation for resulting recording quality.  DSM-1S/H high sensitivity/low noise model seems best choice for your interests. Preamplifier/Deck choice is less important for recording quality, but is more or less important for logistical issues.
Suggest considering practical working mic recording positions for recording the hummingbirds.  If you expect to mostly record nature and wildlife subjects not easily deterred by a quiet human presence at <25 foot distances, the windscreened headworn DSM mic should be sufficient. 
Choosing 16 bit/44.1K standard definition audio with minimum versatility verses 24bit/88.1K-192K high definition recording system with greatest versatility makes a big difference in headworn system cost.  Versatility is expanded by use of external mic preamplifier with greater bandwidth and more full quality gain selections than available from internal deck preamps.

*Estimated total cost includes portable recorders purchased at competitive prices elsewhere.

16bit/44.1K good quality/bandwidth, minimum versatility system with real-time digital audio interface to SPDIF coaxial input soundcard:
DSM-1S/H + WHB/N + *PCM-M1 DAT + MOD-2 upgrade + SPDIF patch DAT interface = ~ Total $2000


MAXIMUM RECORDING QUALITY SYSTEM (headworn version) uses Fostex *FR-2 recorder with fast storage or direct USB transfer costing ~$3400 for total system:
DSM-1S/H                        $650 USD            High Sensitivity/Low Noise
WHB/N                                $250                    Headworn windscreen accessory  
PA-24NJ-X                        $1200                  Dual XLR balanced LINE output Preamp (up to 30' cable lengths)

The above system should work very well using Fostex FR-2 deck going in LINE input.  As mentioned, the Fostex FR-2 deck you need to purchase elsewhere for <$1000.  FR-2 records 24bit/96K high definition wide bandwidth audio to CF or micro-HDrive storage, and has direct USB connection to computer for fast transference of recordings, or the CF/micro-HD storage can be removed from the recorder and inserted directly into computer via CF or PCMCIA cardbus interface.

DSM-1S series mics, PA-24NJ-X, and Fostex FR-2 have very good ultrasonic frequency response beyond 40,000 cycles frequency bandwidth, so this should allow complete recording of very high frequency bird sounds, especially if most subjects are generally within a 120 degrees (width of sound sources of importance) of front (facing) DSM mic for best highest frequency reception. 


Recording at moderate < 30 foot distance with remote mic-on-stand uses the FR-2 system + LiteGUY + Tripod stand for ~$4500 total cost. 
If you intend or desire to NOT personally head wear the mic (at least every time), but instead desire to set the microphone up on a folding tripod stand (suggest ~$200 costing Beyer ST352 mic stand as best design) at <30 foot distance from the deck, suggest getting the LiteGUY-WHB ($850 USD) baffle that mounts the WHB/N mic for this purpose.


Very remote distance (>30'-500') mic positioned system cost is ~$5900 with 200 foot S-VHS to terminated Dual XLR extension cable. 
If you expect greater (>30') LiteGUY baffled mic-to-recorder distances for this project, substitute the PA-24NJ-X preamplifier for the PA-24NJ-V ($2400) model that has virtually unlimited cable length driving ability using terminated S-VHS type cable that is adaptable to any recorder's LINE level input connector type.  This will allow setting up the mic in very distant remote field locations to record wildlife that is easily disturbed by moderately close human presence.

If you NEVER intend to HEADWEAR this microphone, but ALWAYS want 'stand-alone' recording ability using HRTF LiteGUY baffle, then substitute the WHB/N headband with the LiteGUY-W ($900) baffle. This model of LiteGUY HRTF baffle has appropriate choice DSM mic model that is windscreened and permanently mounted to the LiteGUY baffle for always recording using mic mounted on stand or boom.

Ship/Pay options at:

Please let me know if any of the suggested systems is a good fit for you, and/or any additional questions. 


Best Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo


In a message dated 12/24/01 5:05:41 PM Pacific Standard Time, writes:

<< Subj: Recording my piano.
Date: 12/24/01 5:05:41 PM Pacific Standard Time
From: (Gxxxxxxl T. Dxxxxx Fxxxxxx)


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.)

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,


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:
See M1 deck review pages at:

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:

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:

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:

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)

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
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,


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  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  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


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:

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:

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:

System cost summary:

DSM-1S/M . . . . . $550
WHB/N . . . . . . . $190
PA-6LC2 . . . . . . $175
EMS ship . . . . . $ 25 (See Overseas Ordering section on page: )
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 )

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

Thanks a lot for your time, and I hope to place my order with you very
soon after I get a reply.


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: (Mxxxxxxxl Bxxxxn)

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:

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

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.




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:
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: ) 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 :

Payment/Shipping or Ordering options at:

MP3 of dialog, music, SFX at:

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, writes:

<< Subj: SS Mics
Date: 12/16/01 1:35:56 PM Pacific Standard Time
From: (Mxxxx Pxxxxxxxx)


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.

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: (Lxxxxxxxxx, Rxxxxxxx)
To: ('')

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


Hello Richard,

DSM-6S/H or /EH ($500 or $600) are good choices for this kind of recording. See DSM mic chart at:

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:

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 ) 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:

Payment/Shipping options are discussed on the ordering info page at:

Acoustic instrument/orchestra MP3 recordings with DSM mics can be found at:

Best Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo, Owners

<< Subj: hey now
Date: 10/21/98 3:01:07 PM Pacific Daylight Time
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:

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
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.

   - 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 )

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

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

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

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

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 )

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)

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

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 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

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.


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   
For Mic powering:   MOD-2/PA-x Mic Powering Page
For Ordering:

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: ('')

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,

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:  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

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:  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)

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

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). 


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

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
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


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

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:

Powering & bass filter considerations are discussed at:

General Ordering information is at:  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)

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 Tokyo.  I wasn't particularly moved by it, but
sometimes I got some pretty nice recordings with it, and I pass what
I've recorded along to the audio-junkies that always crave such DAT
tapes (seems a bit like a porno junkie-- they don't want to GO listen
to the music, they just like the recorded tapes...)

err, anyway, my mic was stolen yesterday (along with the battery case
for the Sony DAT that I use, but I made another battery pack).  I went
around looking for mics here, but I can't even find one as good as the
stereo Sony mic that I was using. 

I would like to buy one of your mics, I've been debating it for some
time now.  The only problem is the cost, but I see no point in getting
anything unless I'm going to be satisfied with it....

I'm pretty finicky about sound quality, but I'm not going to die if
things aren't perfect either... I was getting along just fine with the
sony stereo mike, but I had thought about upgrading for quite a while
(it sounded particularly shitty for live-band recordings, but quieter
one instrument acoustic performances were passable... although nothing
like what I've heard your mics do... I believe the model that seduced
me was the DSM-1/H, he told me that it ran him $600 US).

Your web page requests that emails asking advice list background with
sound equipment in order to evaluate needs, etc.  I'm a guitarist,
strictly acoustic, and have quite a range of nice stuff to make sure
that my sound is "full".  I use a custom made pre-amp, Sunrise blended
stereo pick-up, Rane parametric EQ (3 band), Lexicon reverb... hmm, I
don't know if you have heard of this stuff, my point is that I really
I like the good stuff, but I don't go ALL THE WAY to get the best

ah, a long winded email.

With all that, which mic would you suggest?  I guess I will be using
it primarily for acoustic recording, both inside and outside.  I will
generally have the mike within 10 feet of the performance, which is
not amplified.  Background noises such as crickets, traffic, etc., are
great, provided that they are not overpowering.  I would like to use
the mic, though, for bootlegging some jazz shows, though....

Let me know which mic you think would fit my interests.
Tim Penn

Hello Tim,

Thank you for expressing interest in the DSM stereo mic systems and providing some details of your main interests.

For purely acoustic instruments, the DSM-6S/EH ($450.- USD) or also available DSM-6/H ($350) or DSM-6S/H ($450) would seem a good fit that also allows better loudness handling in general and are more versatile than the DSM-1 models.  DSM models are discussed at: 

DSM mic powering is another topic and if you always use an external preamplifier, then the input plug of the preamplifier should be considered.  If this is Dual XLR, the most direct connection for powering is the PA-10PFC ($200).  However, if you go direct to a Sony mini-DAT deck (no external) preamplifier, then the PA-6 ($75.-)or PA-6LC2 ($165.-, with on/off 85 cycle bass filter) may be more appropriate for 3.5mm stereo jack mic inputs.  There is also available a 3.5mm stereo jack to dual XLR-3 adapter that will allow connecting any of the PA-6xx adapters (used for mini-DAT DSM powering) to standard XLR connection of most external mic preamplifiers; giving more versatile system usage.

PA adapter powering information for DSM is found on the:   MOD-2/PA-x Mic Powering Page.

Ordering (is this overseas?) can be found at: 

Let me know your DAT deck model and any further questions or concerns about a recording system or ordering.

Regards in Sound & Music Recording,
Leonard & Debbie Lombardo

<< Subject: Recording Sound F/X
From: "John P. S   .net>
Date: 4 Feb 1999 14:22:09 GMT

Hi all,

I do mostly audio for video work and alot of the time I wind up recording
sound F/X in the studio instead of using the library (they never seem to
have exactly what I want). I have been thinking of getting a portable DAT
recorder to go get sounds you can't create in the studio. My question is
what kind of mic would be best for this? I have a pair of omni's as well as
a pair caroids, but would I be better off buying a stereo mic (seems like
the stereo mic might be more portable and easier mono compatible)? Any

Thanks in advance,

John P.

Two models of Sony Mini-Deck TCD-D100 and (identical pro version) PCM-M1 shirt-pocket sized but full featured with dual AKM 20 bit A/D would seem your best choices for this work.

Sonic Studios 'headworn' DSM-6S/EH stereo mics (with WHB windscreens for outdoor work in winds) are THE mics that most the field EFX and ambient recordists find the most useful and are powered by the Sony DAT 'plug-in-power' (with MOD-2 deck upgrade).

Most of the more recent (within the last 8 years) cataloged sounds found on the Sound Ideas CD library and Sounddogs on-line server ( have been recorded with this mic system.  However, many other sound editorial companies, small record labels, and PBS contracted independents (to name a few) also use this system of DSM and Sony DAT for similar purposes.

Complete details on our web site or E-mail me for getting practical answers on these  complete systems (Sony DAT decks+ mics in-stock &  readily available).

Regards in Sound & Music Recording,
Leonard & Debbie Lombardo

Subj: Re: DSM 6 Mics
Date: 2/5/99

Hello Bill,

Thank you for expressing interest and asking some pertinent questions.  I'll answer these within your message.

Regards in Sound & Music Recording,
Leonard & Debbie Lombardo

<< Subj:  DSM 6 Mics
Date: 2/4/99 12:23:16 PM Pacific Standard Time
From: Bill M

I have been looking over various mics to purchase in the next month or
so.  I was looking over your DSM series with my eyes on either the DSM 6
or 6S mics.  But first i have a few questions.
1.  Many other mic companies suggest a bass roll off filter when
recording in loud bass environments.  You don't even mention them for
these mics and don't sell them as an option.  Is there any reason why?

REPLY: A discussion of this option is found on:    MOD-2/PA-x Mic Powering Page  where there are four models to choose from.

2.  Why should i buy the 6S over the 6 series mics?  I don't really
understand all the db cycles and Khz numbers.  How am i going to hear a

REPLY:  Some do and some will not hear any difference.  Depends on the recorded source and what audio qualities each person easily hears or listens for during playback.  Discussion of DSM mic models is found at:

3.  If i go for your external powering source for my Sony M1, that will
cover the mic power with a MOD, right?  The only advantage to the
external powering source is length of battery life, right?

REPLY: MOD-2 Deck mic powering is an ideal situation (if you don't need bass reduction) with much less connected hardware, one less mini-plug/jack connector to maintain, and allows a more direct signal from the mic into the deck.

4.  What kind of turn around are you looking at for the MODs?  Can i
send you my M1 and get the MOD and mics back together and what time
frame are you looking at?

REPLY: 48 hours as mentioned on the MOD-2/PA mic powering web page.

Any other tips for using your mics with an M1 recorder?  I am really
excited about jumping into taping and would like my recordings to come
out great from the get go.  I know i am going to have to learn some
things, but i don't want to make bad recordings.

Also, i am going to be in London when i need these, you can ship them to
me there right?  I didn't think it would be much of a problem, but just
wanted to ask.
Thanks very much for your help,
bill m

              CDR Trading Page:

Bill, please let me know what kind of sound/music is your main interest so a DSM-6(S)/ model sensitivity may be best suggested
to meet your requirements.  For pure acoustic and amplified Jazz of moderate loudness, DSM-6(S)/H or M may be a good fit.

<< Subj:  Questions
Date: 2/8/99 2:36:59 PM Pacific Standard Time
From: (Jonathan )

I'm looking to get into the audio recording of concerts, I've been
doing a lot of stealty video taping, but I can't handle the stress so
well anymore. I will be recording loud concerts, eg. Metallica, so
I'm thinking that what I would need is the DSM-6/EL and a DAT
deck with the modification ( I don't what to deal with a power suppy
). So the TCD-D100 looks good. The price you have quoted at
$850, I assume that is for a modified deck, and with all the
documentation, packaging, warrenty, and accesories that Sony
sells it with? So the total would come to $1200. If I were to order
both these items COD, how long would it take before they could be
shipped? Also, by ordering COD you want a cashiers check ... I've
never gotten one of those before, would I just go to my bank with
$1220 in cash and ask for a cashiers check? It is my
understanding that the TCD-D100 when put on the low sens mic
setting, it doesn't actully attenuate before the signal hits the mic
preamp. So what kind of SPL would start overloading the preamp
with this configuration, or is that something I wouldn't have to worry
about? Thanks very much.

     _/  _/_/_/       Jonathan \_      \_
  _/      _/  "wave those flags high in the air  \_      \_
_/_/_/  _/ as long as it takes place over there" \_  \_\_\_

Hello Jonathan,

D100 is $825 right now and the DSM-6/EL should allow the deck+Mic clear reception to at least 133 db SPL 

Bass sounds might be way too loud and massive during speaker playback and need some bass reduction within the sub woofer range of frequencies.  Most who are recording this type of rock, are having to always use something like the PA-6LC3 or PA-6LC3B for adequate bass control that makes the recordings sound much clearer especially on speakers without needing subwoofer or graphic equalization adjustment.

The PA-6LC3(B) is a little bit of extra stuff to carry but probably worth it for these bands,  You can do without using it (with having the MOD-2) if recordings are adjusted later for more balanced sounding bass either by reworking the audio as a file on a computer or graphic equalization with or without subwoofer controls during playback or re-recording (via bass equalized analog to re-digitized dub).

Headphone listening usually offers cleaner sound regardless of any excessive bass on the recording that might be too challenging for speakers.

So I would suggest for recording those types of heavy rock bands the following:
The minimum system approach: $1175.00
D100 with MOD-2 (brand new with full Sony warranty) .....$825.00
DSM-6/EL ........... $350   
The bass filtering system...... buy the D100 (no MOD-2) maybe from Klay Anderson Pro Audio for about $700(?) 1-800-FOR-KLAY,      purchase the following here:  $550.00
DSM-6/EL ...........$350
PA-6LC3B ...........$200 (used mostly in the 85 or 130 cycle settings.... has 170 cycle setting for better bass boom control

Total of this (not including the D100 deck) = $550.00

You can try using the minimum system and later get the bass filter or get it now and try it both ways to see if the bass filter is worth of using it for better recording satisfaction.  If yo can do without the bass filter, send it back for a full refund within 60 days.

If Klay has D100 stock then any of the two system options can be sent immediately to you.  Purchases are shipped no later than the next day via your choice of FedEx service shown on the ordering page:

See the D100 powering tips at the bottom of :  This can help you get the most out of the D100's unique powering features and limitations.

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo

Subject: Portable DAT Recorder Recommendation?
Date: Sun, 7 Feb 1999 15:24:06 -0700 (MST)


I'm planning to buy a DAT recorder to record the sounds of the desert birds
and animals where I live (near Tucson, AZ). I currently have a Sony WM-D6C
analog cassette recorder and a Sony ECM-909 microphone, and the recordings
I've been making are kind of OK, but there's too much tape hiss for my
liking. So I'm wondering whether a Sony TCD-D100 would me a good machine to
upgrade to. I need something very portable, so that I can take it out hiking
with me. I'm also wondering whether the ECM-909 microphone is really good
enough. Can anyone offer any thoughts on the Sony TCD-D100, or alternative
portable DAT recorders.

The D100 or M1 is excellent for this purpose, but the stereo mics you've chosen are not quiet or give a good stereo ambient 'feel' to be worth the effort.  Nature sounds recording is a very special application that requires a very low noise 'ambient stereo' type microphone and there's just a few that work well for this purpose and most are too expensive to amateur purposes.  Neumann RS-191 (about $4500) is reported excellent for being low noise, but for a lot less, Sonic Studios DSM-1S/H + WHB windscreen ($675) will give much more satisfactory ambient stereo imaging, but at just a bit more mic noise than the Neuron.  Using the LiteGUY ($500) mic baffle is an option for mic stand mounting allowing you to get clear of being part of the microphone system for long periods of time.

See these URLs on the site (also listed below) for more details on this system and E-mail me for answering further questions doing nature recordings.

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo

<< Subj:  Order
Date: 2/14/99 9:22:32 AM Pacific Standard Time
From: (Fabrizio )


I' want to buy one DSM-6/H microphone. I have a Sony DAT (TCD D8) and I wish record live (pop/rock) concert. For shipping method, I think to prefer the USA Postal International Express.

Total to pay is 350$ for the Microphone, 25$ for USA Postal Shipping, but I don't know if I forget other: can you help me and send  more informations about the right price of this order (the final price is 375$?) and other info about the best payment method for you?

Thank you very much for your kind attention.

00156 Rome Italy
Hello Fabrizio,

Thank you for considering the DSM microphone systems and providing some necessary details of your recording equipment and music interests.  Your shipping address (the one in your letter?) and contact TEL# is needed to complete shipping information.

The DSM-6/H model seems too sensitive (very good for acoustic type orchestra concert) for recording the music you mentioned.  The DSM-6/M may be better suited especially for your stated music interests that is 'amplified by PA speakers' such as usual for Popular music and Rock concerts.  The DSM-6/M is the same cost at $350. 

While the DSM microphones can be powered by the D8 directly, the mic will work, but not as good than if the power is 100% by using one of the PA-6 ($75 just for mic powering) or PA-6LC2 ($165 with 85 cycle Bass filter for Rock that can be switched off for when bass is not too much).

You can try using without the PA-6 or PA-6LC2 power adapter and can buy this later when affordable or improved mic performance is desired.

The PA adapter page is at:


<< Subj: Recording Concerts
Date: 2/14/99 9:48:45 PM Pacific Standard Time
To: GuySonic


I am interested in recording rock concerts at indoor venues and outdoor places.  I am striving for top of the line quality.  Which microphone of yours is suggested for my purposes. 

I'd also like your opinion on DAT and MD portable recorders.  Which do you think is better.  Sony has come out with a MD that's $300 compared to there Dat portable DAT at $600.


-Jason >>

Hello Jason,

For nonprofessional/non-master music recording either DAT or MD is of almost identical sound quality. 

MD is less convenient for your purposes with 1 hour +14 minutes maximum per disk compared to DAT 2 or 3 hour for just 25% more than MD blank cost.  R30/R50 MiniDiscs also will not allow manual recording level adjustment until recording is stopped or in Pause; this is quite an awkward handicap until experience or luck allows some presetting this. 

The newest Sony R55 MiniDisc recorder may not have this problem with full manual Level adjustment anytime.  If so, only the blank media limited time and expense remains an issue.  If you record enough, the lower DAT media cost will quickly make up for the extra cost of the DAT deck. 

DAT decks will record and tolerate being in motion, but MD has troubles in recording (not playback) when not motionless.

For Rock, the DSM-6S/M or /L  (premium channel matched medium and low sensitivity models) should work the best and are $450 a set.   

Low gain (DSM-6S/L) is preferred if 'heavy metal' type Rock with excessive or exaggerated (also boomy bass) is frequently recorded.

Powering the DSM remains an option discussed on:   
Please read this about different ways to power DSM microphones.

If the rock concerts recorded have good quality bass sound (Dead, Phish, Zero) then bass filtering is rarely necessary as their performance bass sound is consistently balanced.  However, the PA-6LC2 ($165) both powers the mic and has a switchable (on/off) 85 cycle bass filter that's very useful for most less consistent Rock styles.  Heavy Metal or extreme Raggae bass may need another type of filter such as the PA-6LC3 / (B) MODELS.

PCM-M1 Sony Pro DAT is available stock from Klay Anderson or Here with MOD-2--- already upgraded to directly power DSM mics for $825.
The newer Sony MD-R55 is just now arriving at consumer dealers and should be looked to see if manual adjustment is now possible.

Ordering info is at:

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo

<< Subj:  mics
Date: 2/20/99 9:52:50 PM Pacific Standard Time
From: (Marc )
Reply-to: marc

I am a sound designer and was interested in your binaural mics for
recording fx. I recently purchased the TCDD100 - Which binaural mic
would you suggest- I also wanted a relatively inexpensive stereo mic
with an 1/8"jack. what do you reommend.
The MOD-2 ($85) mic powering upgrade is needed and most of the sound designers are using the higher sensitivity DSM-6S/EH $450) shown at:  with WHB ($125) windscreen accessory for outdoors.

A PA powering adapter is an option for mic powering, but has a few disadvantages over the MOD-2 method.
This is discussed at:

If recording very loud sources like Race cars/boats at close range, another DSM-6x/xx model may be required.

Pure nature ambients like in forests/jungles/coastlines could use the higher sensitivity, lower noise DSM-1S/M or H models.

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo

<< Subj:  DSM-6 interest
Date: 12/29/99 12:09:33 AM Pacific Standard Time
From: (BRIAN)

Hi folks,

I'm a brand-newbie amateur hobbiest DAT recorder, and I'm intrigued by
your DSM mics.  I've read some reviews and downloaded sample MP3 files
from your webpage and have been impressed with the sound quality for
such an affordable mic.  I wish more manufacturers provided sample MP3s
including info about the recording setup!  It would make research and
decisions much easier.  I noticed that the sample recordings did not
include any loud amplified music in small club scenarios, so I'm curious
how the DSM mics perform under these conditions.

I'm primarily interested in recording live rock & roll and bluegrass.
The rock & roll shows will most likely be LOUD and in small venues
(200-1000 ppl), with an occasional large stadium-like venue.  The
bluegrass performances will be amplified through a sound system and

Soon, I'll be receiving my Xmas gift (lucky me!) Sony TCD-D100, which I
may exchange for a PCM-M1 to defeat SCMS.  I'm an avid tape trader, and
I don't want to limit the future generations of the clones I send out.

I checked out your DSM chart, and it looks like the mic best suited for
my purposes is the DSM-6/M or /L.  I imagine you folks have plenty of
interest from amateur hobbiests such as myself, so any guidance you can
provide would be infinitely helpful.

Thanks for your time,

Akron, OH

Hello Brian,

Thank you for expressing interest and providing excellent details on available portable equipment and music tastes.

The DSM-6S/L or DSM-6S/L would seem a good 1st choice for handling both loud and more moderate PA'd venues.  The need to avoid the SCMS limitation is understandable as some tape trades involve dubbing a consumer deck made copy and a pro deck allows dubbing from any source. 

It may be useful to know that either D100 or M1 portables represent one of the very best choices for making live recordings, but the dime-sized heads will start to wear out within 300-500 hours.  This limits the usefulness of the small decks to just making the live recordings and occasional playback, but using for tape trading is not a good idea where a full sized DAT deck with many thousands of useful head life hours is more practical and economical in the long run.

Both D100 and M1 decks would need the MOD-2 upgrade if direct DSM powering is desired without using the PA powering adapter.  This is the most convenient way to configure the mic deck system. 

If your loud music recordings are often of venues employing way-excessive bass, then perhaps defer the MOD-2 and consider the PA-6LC2 powering adapter as a better choice with having the ability to control moderately excessive bass with a defeatable 85 cycle bass filter. 

The other option is to have the MOD-2 installed and use any suitable PA-6LC(xxx) version only when recording venues that require this optional bass reduction for cleaner recordings and this also gives better deck mic preamplifier headroom to excessively strong bass content.

Powering & bass filter considerations are discussed at:

General Ordering information is at:

Thank you for reminding me of not having a loud (and bassy) venue representation in MP3 available.  I recently deleted a fairly loud (but not excessively bassy) clip (15 MEG) as it was not getting much interest.  I believe that the "Days Between" Phil & Friends sample is closest to this type of sample, but I'll look into posting a DSM recorded and traded version of Pearl Jam or similar. 

Some extremely loud groups in clubs just don't sound very good MIC recorded only because the PA's are being very driven into distorted unpleasantness regardless of the mic/deck used.  In these situations, a sound board feed may give better sound (although these generally don't sound good either for different reasons) over an audience mic'd recording.

Regards in Sound & Music Recording,
Leonard Lombardo

<< Subj: I'm interested
Date: 12/6/99 7:01:21 PM Pacific Standard Time
To: GuySonic


My name is Paul , and I was just checking out your web page.  I live in LA and have just purchased a Sony PCM-M1 portable dat here in town.   I was hunting for a discreet mic when I was given your site to check out.  I have a few questions.

1) I'm going to be doing some candid camera style audio pranks where I'll be going into shops etc and recording my interaction with salespeople, people on the streets etc., and I need to know what will serve me best.    I can't predict how loud the background noise will be, but ideally I will try to avoid it.   What mic would work best, the DSM1?


2) What's the best way to hide the mic?  I think putting the mics on glasses might not be discreet enough.  Unless they were hanging off a pair of croakies, dangling from my neck?  Would that compromise the sound, if they weren't on my head?   

3) I'm planning on putting my portable dat in a cushioned walkman pack that I wear around my waist.  Is there a way to integrate the mics onto a pair of walkman style headphones so the wires running down my neck don't look weird? 


4) How can I purchase these from you?

  Paul ( 

Hello Paul,

Thank you for expressing interest in a DSM microphone system and for also describing your project and portable deck model.

The DSM-6S/EH or DSM-6S/H (only pro-match choices in stock currently; $550 & $450) are suggested models.  Powering the DSM may be done directly by the M1, but the MOD-2 upgrade is needed to get the most consistent performance from the microphone.

Instead of the M1 MOD-2 powering, a useful PA-6LC ($125) powering adapter & 85 cycle bass rolloff will allow removing some of the lower frequency rumbling that urban (ambient sound) situations tend to have; auto/truck traffic and air conditioning systems produce a lot of rumble even if you don't consciously notice it; it will be very apparent in your interview recordings and likely need some DAW post filtering work at least.  The 6LC powering adapter will properly power the DSMs and provide a significant bass rumble reduction that seems most useful for your project.

Although you may mount the mics anyplace you like, I'd strongly suggest recording with the DSMs headworn in some fashion.  They are smaller than they appear in the photos and are rarely noticeable for what they are .... Stereo mics.  Having just long enough hair to hide them in the sideburn area when mounted on eyeglasses usually provides the best low profile.  Mounting the DSMs any place else without the "head baffle in-between the pickups" significantly reduces the "you are there" quality of the recordings. 

Obviously, you must make some important decisions on what is most important for your sound within projects and mount the DSMs accordingly.

Mic models suited to your music or sound recording tastes are listed at:

Powering & bass filter considerations are discussed at:

General Ordering information is at:

Regards in Sound & Music Recording,
Leonard Lombardo

<< Subj:  DSM&PA
Date: 11/25/99 9:02:00 PM Pacific Standard Time
From: (Naoki )


I want to buy your Stereo Microphones and Powering Modules but don't know
which I should buy.Please let me know which are better for me.

Of course, I will use them to record for live concert.
My favorites are Elvis Costello, Ron Sexsmith, The Kinks, Neil Youg...etc

I want to get them by 10th of December but is it possible to do it ?
Please let me know as soon as possible and I'll send the payment to you.

Best Wishes, Naoki from Japan

Hello Naoki,

Thank you for expressing interest in a microphone system.  Please also let me know your recorder model.  The suggestions below are appropriate for mini-DAT or MiniDISC portables.

Delivery by the 10th is cutting it close for time, but is more possible if express mailing of payment here or perhaps with direct bank transfer method. 

I have stock here of the suggested:

DSM-6S/L ($450 US) ...... and .....
PA-6LC3 ... or ... PA-6LC3"B"    ($200 US ea.) 

"B" version is good for Normal bass-heavy/boomy Rock/Pop music at concerts to Mega Bassy/boomy sound at concerts now more common in Japan (and Germany).

However, the "B" version is not a good choice with "acoustic" type concert as recorded bass is now a bit thin although at the minimum 85 cycle switch setting.  The PA-6LC3 has 45 cycle minimum setting that gives much nicer recorded sound when live bass sounds are in good balance .... or more like a commercial CD recording. 

Please make a choice of either PA-6LC3 or PA-6LC3'B' if possible.

Customary Shipping is $25 via US Postal International Express as a personal "Gift" (4-5 days usual, has taken no more than 6 days).

Because of minimum time available, sending payment as JIPMO for $675.US here via 1st Class International Air Mail (takes 5-7 days) may or may not work for <=Dec 10 arrival. 

MAYBE BETTER Sending JIPMO via special carrier (like FedEx or similar) may be cost effective when compared to Bank Transfer Fees(?), takes about 3 days where bank transfers are often delayed to accrue interest(!) before getting to the destination account.  Check with your bank for details and cost.


Send me your preferred Business or Residence shipping ADDRESS & TEL# and $675 US for US Postal Express shipping

Or send $700 US for faster FedEx international priority (2-3 days) shipping.

Send JIPMO in US dollars and payable to:

Sonic Studios
1311 Sunny Court
Sutherlin, Oregon 97479 USA


Direct Bank payment is possible by transfer to:

  Sonic Studios @ USA
   Bank routing - #
   Account - #

Please ALSO advise on when payment is sent so that I can ship within your timeframe.  My wonderful bank doesn't auto-notify me of transfers lately.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  Please Suggest the Best DSM Microphone Set for me.
Date: 11/21/99 9:43:40 AM Pacific Standard Time
From: .jp (Kazuya )
Dear Leonard,

My name is Kazuya K  from Japan.
I have Sony TCD-D100 and I'm very intersted
in your DSM stereo Microphones.
  My friends who have the same interest in music
recommend "DSM-6S/L + PA-6LC3" to me.
They are users of DSM Microphones and
already enjoy high quality recording very much.
Actually, I also think that DSM Microphones have extreme
good quality in spite of those small size.
Such Microphones can rarely be found out in Japan.

My favorite music are alternative rock, punk rock, techno music,
snew wave, ethnic music, avant-grade music, and so on.
Please suggest which microphone and battery box are best for me?
I myself consider that "DSM-6S/L + PA-6LC3" is a good solution,
as my friends advise me...

Thanks in advance.

Hello Kazuya,

Thank you for expressing interest in a DSM microphone system for your D100 and having also included music tastes.   

Your kind words about the recording quality with using DSM microphones is also much appreciated; thank you.

Your choice of DSM-6S/L ($450) and PA-6LC3 ($200) seems correct for recording a very wide music style with_always_having some bass reduction.  The 45/85/170 cycle bass filter selections of the PA-6LC3 gives the least amount of bass reduction at 45 cycles for new wave, avant gard, and ethnic music.  The 85 cycle is a favored (at least in the USA) setting for recording most pop/rock music venues. 
The 170 cycle setting may be only rarely used for being very close to the stage speakers at a very loud bass rock venue or for general audience positions for a clear recording during extremely strong bass at venues like described below.

Some pop/rock music concerts in Japan (NOT as common elsewhere to my knowledge) have need of exceptionally bass control regardless of recording position at some larger (usually indoor) venues. 

For this reason the PA-6LC3B (with 85, 170, 250 cycle settings) was newly designed (1 year ago after complaints and analyzing a sample tape from Japan using PA-6LC3) to give recording satisfaction for handling MEGA (way excessive & boomy) bass sounds and still produce a clear and somewhat tonally balanced recording.  The PA-6LC3B would also be a most good choice for you, but only for recording the more 'energetic' pop/rock type music.

Because your music interests are very wide, there will be times when recording ethinic/new wave or acoustic style of music when NO bass reduction would give a fuller, more satisfying recording.  However, NONE of the mentioned PA adapters have an OFF position for turning off the bass filtering; a measure of bass reduction is always ON with the PA-6LC3/B powering adapters.

A more ideal system for you might be considered as having TWO different PA powering adapters. 

FIRST One being the PA-6LC2 ($165) with ON/OFF 85 cycle bass filter.  This is suggested for satisfying and fuller sounding acoustic style where using NO bass filter (OFF) works best or recording moderate loud-bassy pop/rock with 85 cycle bass filter ON. 

Secondly, the PA-6LC3B ($200) is used instead and only when needed for recording larger indoor MEGA bass concerts where 85 cycle filtering may not be enough for clear recorded sound and using the 150 cycle (or 250 cycle) bass filter is found more appropriate.

Your recording satisfaction is what is most important and the extensive suggestions are only for your consideration in what may be most satisfying and appropriate recording system for your (wider than most peoples) music interests.

Please let me know what seems the most correct for you in a recording system.  Shipping is $25 additional via USP International Express mail regardless of the mic system ordered.  Usual payment is by sending JIPMO in US Dollars via 1st Class International Airmail (this can sent as certified/sender notification of delivery) to:

Sonic Studios
1311 Sunny Court
Sutherlin, Oregon 97479 USA

Mic models suited to your music or sound recording tastes are listed at:
Powering & bass filter considerations are discussed at:
General Ordering information is at:

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  Catalog
Date: 11/19/99 7:08:53 PM Pacific Standard Time
From: (Patty)

We would like to request a catalog of your products. We are an elementary school looking into making musical CD's of the different music groups in our school, and are looking for the equipment to enable us to do that.

W. Elementary School
Atten. Chuck
Thank You
If there is no chocolate in Heaven, I ain't going!!!
  -------------------- >>
Hello Patty and Chuck,

Thank you for expressing interest in a live music recording system for your students. 

The best source of products (& informative reviews) and recording tips resides on my web site listed below. 

Many with similar interests in student music recording and making CDs of live acoustic performances are using the DSM-6S/EH and DSM-6S/H model microphones with a portable Sony PCM-M1 DAT recorder ($800).  This combo costs $1250-$1350

Alternately, the Sharp portable MD-MS722 MiniDisc ($295) is useful as a lower cost good quality recorder, but the MD recordings must be played back over a non-portable MD deck ($250-$350) with having the necessary digital outputs; none of the MD portables have these needed digital outputs, only line-headphone.

The LiteGUY baffle accessory ($475) that mounts the DSM mics (instead of person head mounting) offers flexible and closer on-stage positioning for use during a live audience attended performance.  Person worn DSM microphones can be used during live performance in the first seating positions, but this is a compromise to getting a more professional sounding recording that usually needs closer positioning with small groups of less than 10 performers in a too live or echoey room/hall.

The Sony RM-D100K digital interface accessory ($200) allows the PCM-M1 DAT tape recordings to be digitally outputted to computer .wave file or directly to any stand-alone type CD burner.  I'd suggest eventually using a computer with audio processing software (like Cool Edit Pro by Syntrillium for Win95/98) to add a little dynamic compression when editing the transferred sound files (as .wav files) for better sounding playback (more like commercial music) over common low powered portable, ado, and home stereo systems.

Some URLs of interest:

Mic models suited to your music or sound recording tastes are listed at:
Informative Reviews:
PCM-M1 deck review:
LiteGUY baffle review and info:
MiniDisc recorder info:  Sharp MD-MS722 

General Ordering information is at:

Let me know if you need more information or questions answered anytime.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj: I'm interested
Date: 12/6/99 7:01:21 PM Pacific Standard Time
From: G
To: GuySonic


My name is Paul Gilmartin, and I was just checking out your web page.  I live in LA and have just purchased a Sony PCM-M1 portable dat here in town.   I was hunting for a discreet mic when I was given your site to check out.  I have a few questions.

1) I'm going to be doing some candid camera style audio pranks where I'll be going into shops etc and recording my interaction with salespeople, people on the streets etc., and I need to know what will serve me best.    I can't predict how loud the background noise will be, but ideally I will try to avoid it.   What mic would work best, the DSM1?


2) What's the best way to hide the mic?  I think putting the mics on glasses might not be discreet enough.  Unless they were hanging off a pair of croakies, dangling from my neck?  Would that compromise the sound, if they weren't on my head?   

3) I'm planning on putting my portable dat in a cushioned walkman pack that I wear around my waist.  Is there a way to integrate the mics onto a pair of walkman style headphones so the wires running down my neck don't look weird? 


4) How can I purchase these from you?

  Paul Gilmartin  (  818-782-2317
Hello Paul,

Thank you for expressing interest in a DSM microphone system and for also describing your project and portable deck model.

The DSM-6S/EH or DSM-6S/H (only pro-match choices in stock currently; $550 & $450) are suggested models.  Powering the DSM may be done directly by the M1, but the MOD-2 upgrade is needed to get the most consistent performance from the microphone.

Instead of the M1 MOD-2 powering, a useful PA-6LC ($125) powering adapter & 85 cycle bass rolloff will allow removing some of the lower frequency rumbling that urban (ambient sound) situations tend to have; auto/truck traffic and air conditioning systems produce a lot of rumble even if you don't consciously notice it; it will be very apparent in your interview recordings and likely need some DAW post filtering work at least.  The 6LC powering adapter will properly power the DSMs and provide a significant bass rumble reduction that seems most useful for your project.

Although you may mount the mics anyplace you like, I'd strongly suggest recording with the DSMs headworn in some fashion.  They are smaller than they appear in the photos and are rarely noticeable for what they are .... Stereo mics.  Having just long enough hair to hide them in the sideburn area when mounted on eyeglasses usually provides the best low profile.  Mounting the DSMs any place else without the "head baffle in-between the pickups" significantly reduces the "you are there" quality of the recordings. 

Obviously, you must make some important decisions on what is most important for your sound within projects and mount the DSMs accordingly.

Regards in Sound & Music Recording,
Leonard Lombardo

<< Subj:  Need mics....
Date: 11/8/99 5:33:07 PM Pacific Standard Time
From: ()

  Hi Leonard,

I'm interested in purchasing a set of DSM-6 mics from you.

First off, I am an amateur when it comes to recording.  I'm not in the
music industry or anything, just a huge rock fan.  :)  I will be using a
Sony PCM-M1 to record rock shows from small clubs to arenas.  There will be
times when I will tape at outdoor amphitheaters.  I am not interested in
getting a MOD-2 modification, but would like to get a power adapter/bass
filter.  About 99% of the time, I will need to record in stealth, so I'm
pretty much looking for a "custom" stealth rig.  What I mean by that is,
shorter cables from the mics and the power adapter, than from what you
would normally provide, i.e. instead of a 2.5' cord for the power adapter,
maybe just a 1' cord.  I don't want excess cable on my body for stealthing
purposes.  :)  Is it possible for you to fulfill this request?

Now that you know what I will be recording, can you suggest what kind of
mics/power adapter I should look at?  After looking at your site, it seems
the DSM-6/L or EL would be what I want.  Or maybe even the DSM-6S/L or
EL's.  Is the S version worth the extra 100$?  As for power adapters, it
seems like the PA-6LC2 is what I should get, but the PA-6LC2(and B) gives
me more flexibility in cutoff frequencies.

Any info/suggestions you could give me would be greatly appreciated.

I currently have stock only on the DSM-6S/L models for $450; no other choice at this time.  The extra precision match is well worth it but is not a "day and night" noticeable difference for most with tighter bass sound being the most frequently heard benefit of the better matched set.

The PA-6LC2 has only one 85 cycle bass filter that can be turned off for full bass response when desired.  The PA-6LC3 has three frequencies 45, 85, 170 and is more versatile but bass filtering cannot be turned completely off for maximum bass recording. 

The PA-6LC3B also has three frequencies of 85,170, 250 that are very effective for being directly next to PA speakers or recording very loud boomy bass like what's frequently found at rock concert venues in Japan.

While I can shorten the PA adapter output cable as desired, there's an attached velcro cord strap that will hold any extra cord length in a compact loop.  The longer cable is often quite useful for allowing the deck to be placed at a comfortable distance from a separate "back-pocketed" PA adapter.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subject: Another $400 mike question
From: nhsns
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

Thanks a bunch,
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:  (see St. James Cathedral, Seattle recording)
Mic models suited to your music or sound recording tastes are listed at:
Powering & bass filter considerations are discussed at:

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

<< Subj: buying a new system
Date: 11/6/99 9:57:21 PM Pacific Standard Time
To: GuySonic

Hey Leonard,
I am going to be purchasing a new portable recording system and I would like your advice on what system would work best. I am going to be making field recordings of traditional african drumming in West Africa. I need something that can handle a wide frequency response because there are usually alot of rattles accompanying the master drum, which is usually low pitched. Last time I took a sony professional walkman with a cheap stereo mike, and alot of sounds got washed out. I would also prefer a model that can run on batteries, either AA or  9 volt, because I won't always have access to electricity. If the system has a rechargable battery it will have to run off of UK power ratings. As far as mikes I would like to not have to rely on too much phantom power, but I would like to get the best quality possible.

thank you
James Burns
Hello James,

Thank you for expressing interest in a recording system.

The PCM-M1 deck is the best quality DAT portable for your use, but will not run on regular batteries; see review at:  and external DAT battery systems at:

If you're staying a long time in Africa, it's good to know that only AA and D size alkaline cells are available for buying in that country ...... not C size which you must carry in as spares for yourself.

The DSM-6(S)/H or /M models are a good choice for acoustic instrument field recordings.  Many doing musicology recordings in Africa have used this type of recorder and mic model.  The WHB Windscreen accessory is also an option worth considering, but is not absolutely necessary as an umbrella may be substituted for blocking wind noise effects.

Mic models suited to your music or sound recording tastes are listed at:
Powering & bass filter considerations are discussed at:
General Ordering information is at:

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  Questions
Date: 10/29/99 9:41:09 PM Pacific Standard Time
From: (Henry )

Mr. Lombardo,

Thanks for your reply.  I am considering buying a switch-defeatable PA-6LC3
because of its greater flexibility of allowing 3 cutoff frequencies
45/85/180 Hz.  I will mail you a check within 2 weeks when I make my final
decision.  I will also want to buy 2 Dry Non-abrasive DAT Drive cleaner.

Would you kindly respond to a few more questions.

(1)  As a general purpose high pass filter and to achieve the highest
product quality with respect to live recording, is the PA-6LC3 the best one
to buy as opposed to a PA-6LC3B or a PA-6LC or others?

COMMENT: This really depends on what it is you're recording and for what you need low frequency reduction.  Most Rock users in the USA find using the 85 cycle filter the most useful.  Interviews on the street might also use this, but may want to use 150 cycle filtering for heavy motor vehicle sounds as Rock music in Japan sometimes needs this and more with the PA-6LC3B being a better choice in Japan.

(2)  In your opinion, if other microphones ( Non-DSM types ) are used in a
MOD2-enhanced deck, is there an appreciable, albeit minute, enhancement in
sound quality?  Or is there deterioration in the signal-to-noise ratio?

COMMENT:  Depends on the microphone; most do not use plug-in power anyway and there's no change for them.

(3)  In the Sonic Studios Web site, you talk about phase channel matching
between the left and right microphones.  What does it mean?  Does phase
distortion ( or out-of-phase characteristic ) mean that the sound arrival
time to the left-hand microphone is different from that to the right-hand
microphone?  For example, hearing a sound and its echo at a slightly
different time is phase distortion, would that be correct?

       When I have had occasions to accidentally place the right-hand and
left-hand DSM microphones at different distances from the eyeglass frame,
the sound arrival time to each microphone is different; therefore, there is
a small phase distortion in the recording.  Is this correct?

COMMENT: Phase is also signal timing dependent on any particular frequency and changes with the frequency.  The precision mic phase match and accurate positioning on the head or baffle affects imaging and the PZM "effect" overall tonal response.  All of this can be subtle or very evident and depends on your sophistication about audible sound qualities.

(4)  Although mini-disk recording technology has advanced at great speed in
recent years, has it advanced to the DAT level of sophistication?

COMMENT:  Not quite, but it is not very different from DAT as was earlier.  Most people would not hear a difference in quality.  Mic and analog circuits in the MD players are not nearly as good quality as in the latest M1 DAT deck, but most would not hear this for recording live audiance perspective music.

Henry Chin


<< Subj:  looking for best mics for close recordings
Date: 10/21/99 2:21:45 PM Pacific Daylight Time
From: gary


I've heard your mics recommended time and time again, so I thought that I should
look into obtaining some.  They would have to be suitable for close recordings,
as I record shows mainly in low capacity venues, and I would also like to
close to the stack.  The music I record is 99% LOUD, so I guess some kind of
bass roll-off would be a necessity too.  Would the best be cardioid or omni? I
would also prefer mics that aren't worn on glasses, as stealth recording is the
only way to go in England, so I usually clip the mics I have to the lapels of
the jacket that I wear.  If you can help me out, I would really appreciate
it.  Thanks.

Hello Gary,

Thank you for expressing interest in a suitable microphone system and for the description of the style of music & positions within the venue.

Regardless of the portable recorder you intend to use, the need for a lower gain microphone and bass rolloff powering adapter seems most appropriate for good results.

Omni (the only type of DSM I chose to offer) is a superior type mic for making live performance recordings.  Stealth cardioids are mostly lacking in sound qualities when compared to Omni's but larger versions are useful for studio session and close stage PA work.

Suggest the DSM-6S/L ($450 USD + in stock) and at least the PA-6LC ($125) and perhaps better (with switched filter frequency options) PA-6LC3B ($200) for very loud bassy/boomy and close to the PA Rock type recordings.

Complete descriptions should be reviewed of this equipment and is found on the following pages within the web site.

Mic models suited to your music or sound recording tastes are listed at:
Powering & bass filter considerations are discussed at:
General Ordering information is at:

Let me know the model of your intended deck for some tips. 

Head wearing the mics with keeping the mass of the head between the pickups in some fashion (eyeglasses, cap, sweatband) gives superior sound, but fastening under the collars of a shirt or vest specially outfitted to feed the mics through a specially made rear_inside-collar button hole is another lower quality practical possibility that may be worked out with careful preparation and some practice.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  Questions
Date: 10/21/99 1:44:50 PM Pacific Daylight Time
From: (Henry )

Dear Mr. Lombardo,

I am a happy user of your DSM-6S that I bought a few years back.  I am
still using it with my Sony TCD-7, MOD2 to record music.  But your recent
advertised Danish product, which you dislike, just caught my eye when I
browsed through your web site.  When I have saved enough money, I may want
to get your external power supply PA-6LC3 later.

I have several questions for you:

(1)  What does the precision film coupling do in the PA-6LC3?

(2)  The signal to noise ratio on my 6S is 61db.  Is this A-weighted or

(3)  While your DSM-1S has a S/N ratio of 65db as opposed to 61db, how much
can the increased 4db help in the improvement of the recorded music using
the DSM-1S?  Much improvement?  Would you briefly explain the advantage of
the 1S over the 6S?


Hello Henry,

Your present microphones is equivalent to current model DSM-6S/H shown on the chart.  Let me know what aspects of your recordings could be improved or enhanced.  What kind of recording are you doing now?  Are you doing session work or live performance within the audience?

I noted that you record acoustic music and voice.  More gain is available from other models such as the /EH model, but I need to know where your level knob is getting positioned (0-#10) when recording the majority of important material and if you need to go to (H) High sensitivity often to get enough gain with the level knob set at some # number.

The DSM-1 type models are much higher output/lower noise and might be suitable for voice-interview-vocals, but these models are severly limited to record anything louder like a piano or drum kit.  This model tends to overload the deck's mic stage more easily if recording moderate loudness acoustic instrument/ambient material.

The newer PCM-M1 DAT ($800 or $85 upgrade service with MOD-2 upgrade) is well worth considering for much improved sound over the D7/9 model.  Using a PA- adapter is not recommended as it only adds additional signal path connections and components; direct deck powering like you now have is superior unless absolutely needing bass reduction while recording.

There's now a review of the PCM-M1 on the web site.

Regards in Sound & Music Recording,
Leonard  Lombardo

Subj: Re: FW: web page
To: reid
Date: 10/20/99 11:12:07 AM Pacific Daylight Time

dear guy,

i would like to know what the differences are in your various models of microphones. in the meantime,  here is what i would like to do with mics:  i have
a total retro recording environment set up in my home.  so one use would be in a project studio going through vintage mics pres to an analog or digital multitrack.  so i would need an external power supply for the mics.
the other use could be recording concerts (classical)  or to sample sound effects.  i stead of buying a portable dat or minidisc recorder,  i was thinking of buying a dv camera and using its digital audio capabilities for recording.  are you familiar with any dv cameras?  i assume that i would need the external power supply for the dv camera as well.

Hello again Reid,

Forget the DV camcorders (except the large expensive Digital Canon XL-1 type) for music as they all have AUTO GAIN CONTROL, lacking manual level controls and will create audible volume pumping artifacts and squash the dynamics of the music.  The mic preamplifier in the cameras are generally fairly noisy and too low quality for serious work that even a portalb e MD has better mic preamplifiers.

I'd suggest using the DV only for Scenes where music is not a factor or is simultaniously recorded on a PCM-M1 DAT deck and later mixed to the video track, making a working edit copy.

If you have a PCM-M1 DAT with MOD-2 mic power upgrade, this same deck may also serve (without tape inside) as a DSM mic powering preamplifier outputting digital (with interface accessory) and analog LINE level to your mix board or other equipment or recorder.  The Sharp MD-MS722 also may be used in this same manner, but with slightly lower quality than DAT.

The DSM-1 and DSM-6 microphone models have different sensitivity ratings as the main differences and are suitable for making the most for certain types of recording needs. 

Your stated needs suggests the DSM-6S/EH ($550) or DSM-6S/H ($450) models and would not need a PA-6 ($75; for mini jack inputs) or DUAL XLR studio ready DSM-10PFC ($225) powering adapter if using a minidisc portable or upgraded PCM-M1 DAT deck with these mics.   

The lower cost DSM-6/EH and DSM-6/H ($450 & $350) are not in stock at this time with only the better channel matched models of the same sensitivity being available as practical choices.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  questions
Date: 10/19/99 10:09:25 PM Pacific Daylight Time
From: .jp (Susumu )


I am intereted in your stereo mics and would
like to ask you two thing.

  1. I need a best mic for taping the rock concert
    like Eric Clapton, at large venue, such as Budo-Kan
    in Tokyo. My portable deck is SONY TCD-D7.
    Could you recommend me one of your mics?

2. I need to confirm if the mic of your recommendation
    would be shiped right after you receive the payment.
    I need the mic very shortly.
Your early reply would be appreciated.
Hello Susumu,

Thank you for expressing interest in purchasing a DSM recording system and for including recorder model and music type information.

The DSM-6/L ($350 USD) or best channel matched DSM-6S/L ($450) Low sensitivity models are suggested.

Powering the DSM mic is best done with the PA-6LC3B ($200) that has 85/170/250 cycle selectable bass reduction feature that seems needed for current Rock/Pop concert recording in Japan.  Most venues would require the 85 cycle position, while louder & more excessive bass sounds might require the 150 or even the 250 switch setting in extreme bass circumstances.

Using bass reduction usually allows for clearer and cleaner sound when bass is greater than normal as is more usual at live events everywhere these days and especially in Japan. 

The cost for this system including International Express Postal ship is:
$575 (with DSM-6/L) or $675 (with DSM-6S/L).

Overseas Ordering info at:

To order send intentional postal money order in US Dollars payable to Sonic Studios
1311 Sunny Court
Sutherlin, OR 97479

Please include your mailing address and a Telephone number.

All Items mentioned are in stock for immediate shipment.

Please advise of any other concerns or considerations. 

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo

<< Subj:  Mics
Date: 10/11/99 11:02:12 AM Pacific Daylight Time
From: (Marc )
Reply-to: marc


     We spoke about 6 months regarding mics and I wanted to get back to
you re them.  I have a D100 and I wanted to get mics to use with that
deck,   I am a sound designer so I will be using it for recording
primarily sound efx.  The headband mics interested me because of the
wind elimination as well as it seems more convienent,  I would like to
order these mics soon but I don't want to spend a tremendous amount of
money.  Could you suggest to me what mics to get for recording efx,  I
loved the sfx examples.  Please email me as soon as you have a moment.

Thank you.

    Sound Designer
    HUM Music & Sound Design.
Hello Marc,

Thank you for expressing interest in a microphone system, the kind words about the sound clips, and supplying needed information about your deck and sound recording requirements.

DSM-6S/EH ($550) is the top sensitivity and premium costing model that is the favorite with sound designers for being sensitive enough for a wide range of soft to loud 120+ db SPL sound sources.  Second choice is the DSM-6S/H ($450) at 1-2 db lower sensitivity/higher SPL rating.   Both these models are (S)ignature wideband L/R match grade solely in-stock at this time.

WHB Windscreen headband accessory is still available for $150 (soon @ $175) and is the most elequent way to control wind noise.  This may be substituted with using a well constructed imbrella to block winds.

Powering the microphone is best done with having your D100's mic powering feature brought up to DSM specification with the $85 MOD-2 (send the D100 here with payment) and second choice is with a $75 PA-6 powering adapter.

Suggested lowest costing system would be DSM-6S/L + MOD-2 = $535 total ....... adding the WHB later or now for $685 total.

Reference URLs
Mic models suited to your music or sound recording tastes are listed at:
Powering & bass filter considerations are discussed at:
General Ordering information is at:

Please let me know of further questions or concerns.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  Microphones
Date: 10/5/99 3:33:08 PM Pacific Daylight Time
From: (Rafal)

I'm interested in buying a microphone, something from DSM 6 range.
I have few questions.
1. I will be using Sharp 702 MD recorder. In your opinion, does it work
as well with DSM as 722 does?
     If not, why?
COMMENT: Powering of the mic should work OK with the 702, however, I have not tested this model myself but have sold many 702 owners DSM-6 type mics with no problems reported.

2. Sharp 702 has no 20 dB att. switch. Is the mic input likely to
overload and distort when recording loud music?
COMMENT: If like the 722, the 702 has a 2-part manual level adjustment range where the 1st 0-20 is the preferred LOW sensitivity range and the 21-30 is the less useful (for PA'd music) High sensitivity or higher gain setting.

3. I would like to record a wide spectrum of music, from acoustic and
jazz to loud rock. Which microphone is most suitable?
COMMENT: The DSM-6(S)/L will be the best for this wide range of input with portable decks.

4. The recommended placements for the microphone are eyeglasses and the
headband. If none of them is possible,
      what other placements would you recommend /listening mainly through
the speakers/?

COMMENT: While head mounting is best for a number of good reasons, some have outfitted a special shirt or jacket with (button-down?) collars to hide the pickups underneath.  A custom button hole in the inside rear of the collar allows the pickups to be threaded from inside to being secured under the collar flaps.  This arrangement must be carefully tested to avoid rubbing noises and blocking the front view of pickups, but will give satisfactory speaker playback recorded results when head mounting is not practical.


<< Subj: Discussion before ordering

Hello Yuki,

Thank you for expressing interest in a microphone system and taking the time to describe your interests, present and future recording deck, and concerns about  what is most important.

I will attempt to answer your questions and concerns with comments written below your letter.

Date: 10/3/99 2:02:40 AM Pacific Daylight Time
From: B
To: GuySonic

Mr. Leonard Lombardo,

I am an amateur music lover (not a player myself) in Japan and am interested in ordering and using one of your DSM microphone products.

I have a portable DAT recorder DENON DTR-80P that I bought 6-7 years ago, but I am not using it very often.  At the moment, I only have an electret condenser stereo microphone, which I 'm afraid is not high spec. one, as I don't think it cost me much.  I have done some non-stealthy (with permission) upfront recording of loud jazz with my gear, with the microphone placed on the table, and I have so far been happy with the results.  However, when the situation required stealthiness, I have never been satisfied with the results.  And as I became more interested in stealthy recording recently, I almost stopped using DTR-80P itself, since I know my gear is not suitable for the purpose, .

It was only very recent that I knew about those tiny microphones for stealthy recording.  I do taping only for myself and I am not even interested in tape trading, so I was not following the scene.  But now that I know they are available in the market, I would like to get one and tape more music with my DAT recorder.  I have checked some of the relative websites before I came to your site.  After browsing through your site, DSM microphones look better to me than binaural ones, so I decided to e-mail you.

I am sorry my e-mail is getting very long!  But you said we need to discuss before ordering, and I think I need to explain what I look for so that I can get the right one.  Let me tell you my aim and things that I want you to know.

- I want a very good set of microphones that I can use for a long time.  I do NOT WANT to feel like upgrading my microphones soon.

- I will be recording live jazz/fusion, mostly in a club setting but sometimes larger halls.  Instruments of interest are guitars (both acoustic and electric) and saxophones.  I am not too interested in recording music with vocals.

- The microphones must be as stealthy (in both shape and size) as possible.  The stealthier they are, the more comfortable I am during the performance.  I do NOT WANT to worry about recording during the performance.  I want to enjoy the concert.  (In this sense, I am very attracted by DSM-9M model.)  To me, this is as important as the sound quality itself.

- I have a plan to go to gigs of my most favorite musician in this December.  I would like to tape the gigs in the best quality I can achieve.

- I am at an amateur level technically, but I am really interested in good quality stealthy recording.  I want good microphones for the purpose now, and I hope they will allow me more chances of recording and learning recording techniques.

- If I become a more frequent recorder with my new microphones, I hope to get SONY DAT Walkman TCD-D100 (because DTR-80P is simply too heavy to carry around!).  I am not thinking about recording with MD.

Mr. Lombardo, honestly speaking, I am very interested in DSM-9M with PA-9, but my concern is that they are "pro-use" (and the price is high).  Does "pro" mean any difficulty in handling/using/controlling by amateurs?  What makes them "pro" and highly priced?  Also, I notice that it is only DSM-9M that is so small in size/shape.  Why is it so?

I want to do the best recording I can this December.  If they are really good/different from other models, I can afford them.
  What do you think, and which model do you think I should order?  Please advise!
With best regards,
The DSM-9 models were recently sold out and a newer version with different (looking the same) capsule is being developed at this time.  In many ways, I was not satisfied with the DSM-9 in providing the value (recording performance verses selling cost). 

The DSM-6S models provided much superior value.  For your purpose described, a DSM-6S/L or /M models should suit the requirements.  I'd suggest the DSM-6S/L over the /M for handling excessive bass for recording Jazz Fusion and where the club is purposely is making the sound very bass boomy or excessively powerful like Raggae style music. 

Powering the DSM-6S/L could be done with the PA-6, but the PA-6LC2 would have advantage for reducing excessive bass sounds with bass reduction filtering that may be turned off when not needed. This is the system that will also work with your DTR-80P deck.  Total system cost would be $450+$165+$25 shipping= $640

The TCD-D100 deck or the identical PCM-M1 Sony portables will be much better suited to your need for quality and small size recording.  The direct mic powering MOD-2 upgraded versions of these decks is ideal for when bass filtering is not needed and smallest equipment size is desired. 

However, being in Japan and with cost of shipping the deck (purchased new here for $800 with upgrade + $35 shipping already installed or $85 upgrade + $25 return shipping on your own "Japan purchased" D100 or M1 deck) might be too much cost for the convenience. 

With the MOD-2 installed on D100/M1 deck, bass filter reduction may be found with using the PA-6LC ($125) in-series with the DSM mic anytime this is desired. 

The ideal system for you might be the DSM-6S/L + PCM-M1 (or D100 both with MOD-2 installed) deck.  The quality and small size of such a system is quite excellent.  Total cost would be $1285 with shipping to Japan.  The addition of the PA-6LC bass filter for additional versatility would increase this total to $1410 US dollars.

The pickup size of a new version of the DSM-9 (whenever it is ready) may also be considered with having at least the advantage of a slightly smaller microphone profile.  I just don't know if or when this model will be ready to ship anytime soon or if it can be ready in time for your needs.  Cost of the new DSM-9 version is only estimated at about $1000 if all goes according to projection.

I hope to have answered most of your questions, but expect to hear from you about concerns not fully covered.

Regards in Sound & Music Recording,  Leonard  Lombardo

<< Subj: 
Date: 9/30/99 6:04:50 AM Pacific Daylight Time
From: (Randall )


I am interested in purchasing one of your Sonic Studio mics, probably the

I currently use a Sony MZ-R30 Minidisc and a small, one piece microphone (I'm
not even sure of the brand name).  I've used it about 5 or 6 times and the
sound is good, but a lot seems dependent upon the accoustics of the venue. 

I am a big Springsteen fan and I have noticed that a few tapers are using your
mics for recording, so I did a little investigating and found your web page.
I probably need the EL model for the loud rock concerts because that is what I
am mostly recording, and I am also just recording for myself and a few
friends.  I do not want to purchase an expensive DAT deck, but I would like to
improve the sound quality that I am recording and I figure the easiest way to
do that is with a better mic and yours seem ideal. 

I definitely need the mic before attending a couple of shows in mid-November,
so if it seems that I am on the right track with my selection I will get that
bank check to you soon. 

Two quick questions.  I read the order page, but if I don't want COD delivery,
who delivers it and is there any other cost aside from the $350?

Hello Randy,

Thank you for your interest and for supplying adequate details on recording interests and recording deck.

The R30 should be fine for just plugging in and powering the DSM-6/EL (or /L) model as you've anticipated. 

I strongly suggest learning how to operate the MD deck in the (L) LOW Sensitivity (mic input switch setting) AND MANUAL Mode for best results.

I'm currently out of stock on DSM-6/EL and /L models.  A new run is beginning that usually takes over a month to complete, but for both our needs, this new run is being pushed to be completed well before the end of October.

I believe to have an unused DSM-6S/EL ($450; *now $600) set I've placed into my personal recording collection that I will part with if it's desirable for you to have a (premium matched DSM-6S/EL) set in advance of the big important events to practice and check out your system and stealth recording technique.

Let me know about this and I will double check my mic collection for the EL model, otherwise sending $350 is all that's required to get delivery on a DSM-6/EL (or /L) set as soon as they're available.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  best system
Date: 9/22/99 7:57:32 PM Pacific Daylight Time
From: (jimi )

I am recording in the Yucatan, ambient sounds and live music. I would like a
complete system, lightest weight, highest quality and best price. Yeah Sure.
I had a system of yours and it got ripped off
with all my recordings and compositions. No sob story, just want to get back
on track. Still don´t know if dat or minidisc is better, being off in the
boonies and all.
Get Your Private, Free Email at
Hello Jimi,

Very sorry to hear of this type of loss.  Keeping healthy remains what's really important in life. 

Please check my web site for current products as many areas and products are new and the DSM mics are now model marked with more detail as to sensitivity and suggested uses.

The PCM-M1 ($800 with MOD-2) DAT deck is currently THE choice for portable DAT recorder that may be operated with the BC-1 ($80; C Cell external battery) for 25 hours.  Or consider the BD-1 ($90; uses D cells for going to Africa where there's NO C cells sold)

The DSM-6S/EH ($550) or /H ($540) models are good choices for ambient and acoustic instrument work.  The /H may work best if some loudness (open lid grand piano to large drum at close range) headroom on acoustic instrument recording is anticipated.

The WHB windscreen headband ($125; or judicious use of wind-blocking umbrella) should be considered.

Please update me on who you are (as a previous customer?) and to what location the ordered equipment is sent.

Mic models suited to your music or sound recording tastes are listed at:

Powering & bass filter considerations are discussed at:

General Ordering information is at:

NOTE: The DSM-1 model is an exceptionally high gain lower noise nature sounds mic, but lacks any real ability to handle acoustic instrument recording loudness.  The DSM-1 is very specialized and as such, it's not nearly as versatile as the DSM-6 models.

Feel free to Call anytime if you're in the USA or use the E-mail if elsewhere.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  request microphone for Sony dat100
Date: 9/1/99 9:31:44 AM Pacific Daylight Time
From: (Paolo )

dear mister Lombardo,
I write from Italy (Turin) .
I need to buy a microphone for my Sony DAT100.
my utilization is to record jazz's live concert (open air or in a theatre)
I have see Your internet site and I like the DSM-9M or DSM-13 microphone
Yuo can give me an help to choose the best model for my Sony?
tanks for Your interest.
with best regards.             
  c/o  ne
- >>
Hello Mario,

Thank you for expressing interest in a DSM microphone system and providing the needed information about your recording deck and music interests.

If your music tastes do not include loud and bassy Rock, but is Jazz, let me know if Fusion Jazz is also of interest as this style can approach moderately loud electric bass and amplified drums that is sometimes equivalent to some Rock styles.

The DSM-9 is not now available as it is going through a revision with better suited elements and may soon be an excellent value for the cost.  The previous DSM-9 was not satisfactory (in my opinion) to bring the customer a high value for the needed cost trouble to produce.  The new model would look about the same, but be very different in powering and performance.

The DSM-13 is also not a good value for music recording, but is more suited for special acoustic studies.

However, the DSM-6S/M would be the suggested model as a good choice for doing amplified Jazz recording.  Most users of this model in the US and Canada have had the Sony upgraded here for powering the DSM directly. 

As you just buy the D100 stock deck, it is not suited well to powering the mic and the MOD-2 upgrade is essential for proper working.  Being in Italy, the upgrade is not practical as sending the deck here adds too much for most to consider this option. 

Instead, using the PA-6 ($75) or PA-6LC2 ($165; with on/off bass filter function) may be considered as the next best and most practical solution to powering the DSM.

The DSM-9 microphone should be available, if things turn out as hoped, sometime in late September or early November and will have reduced size, lower distortion, lower self noise, and louder sounds handling than any of the DSM-6 models, but will cost much more to produce and purchase.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  Re. DSM microphones ...
Date: 8/26/99 7:15:26 PM Pacific Daylight Time
From: (Doug C)

Hi There,

Just wondering what configuration of DSM stereo microphone you would
recommend for general purpose field FX recording with a Sony TCD-D8
(i.e. concrete sound elements to be used in the context of a 20/24-bit
digital sound studio as "samples"; also voice; any source could be in
very loud, complex acoustic environments, or very quiet; caturing
close-up and distance). I don't mean this to be a glib request (I know
I'm describing a wide array of conditions which are typically adressed
by using different microphones depending on the circumstances...)

I really like your philosophy/concept!

Doug C
Hello Doug,

Thank you for showing interest in a DSM mic system.  While your requirements are broad, the DSM-6S/M ($450) may have sufficient SPL handling for mid. bass to upper frequency loud sounds recording (note: deck set on Low Sens) and still have usefulness for recording much quieter work with the deck set on (H) high sensitivity. 

Please note: The suggested DSM 'medium' sensitivity model would not be a good choice for recording current Rock Concert 'boomy' Sub Bass SPL's.

Powering the microphone is best done with either the MOD-2 upgrade service on the D8 ($75.- ..... do you actually have this deck or planning on purchasing? ..... consider the PCM-M1 a better new deck purchase investment) or using an external PA-6 ($75) powering adapter.

Mic models suited to your music or sound recording tastes are listed at:
Powering & bass filter considerations are discussed at:
General Ordering information is at:

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  dsm
Date: 8/22/99 10:12:57 AM Pacific Daylight Time
From:  (glenn )
Sender: com (glenn )
To: (sonic guy)

Mr Sonic:
         I purchased a set of DSM-6P back in 93 and have been very pleased  with them.
         I mostly tape in concert halls ,bars and clubs. Has anything really  changed with
          your mics, that might give me even better sound. I see that you have
         a couple of different models, and was just curious. I use the SBM-1 and d8 sony.
         I do not mind the AA battery supply either, can it still be done that way, so
         I do not have to modify my decks. Thanks a lot and look forward to  hearing
         from you.
                  Glenn W Fleming
Hello Glenn,
Bass reduction filtering during the recording has become more needed with the recent super-power amp and speaker developments used for PA systems at concerts and some clubs.  The SBM-1 does a reasonable job of powering the newer DSM-6S type
models (without the battery module) however, bass reduction filtering needs to power the mic first before the filtering is done.

Your mics may need service as dust and lint do collect inside beyond the foam windscreen area if the mics are frequently used in dusty places and often "pocketed" without a dust-proof carrying container.  A refurbishment procedure is available for $85 that makes a set look and work as new.

Your set can be modified to be powered by any of the newer PA-6LCxx powering adapters ( )  if you feel bass sounds are getting too strong and/or the recording clarity is not as good as desired in your recordings.

The newer DSM-6S/L do sound a bit cleaner/clearer to most when compared to most of the older sets, but audible improvements can vary in degree and is somewhat dependent on how well suited your present set is for what your're now recording and the UN-refurbished condition of the older set in general.

I am constantly looking for newer capsules for smaller and better sounding DSM models, but so far no mic pickups have been found superior or that maintain a good cost to performance index to the DSM-6S models.

Let me know what you'd like to have in improvements as compared to your present set, advise me on what type of venues you're now recording, and consider the suggestions I've made if seeming appropriate for your situation.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  DSM-6's for nature recording?
Date: 8/20/99 5:15:35 AM Pacific Daylight Time
From: t.John (John )

Dear Leonard,

I have seen your input on the DAT heads list and Gordon
Hempton recommended your mic's to me.  Please keep in mind
that I am an absolute beginner and don't know a lot of the
terminology yet.  Would you give me your assessment on
whether your DSM-6's could be used for nature recording and
interviews?  What's the difference, in this context, between
the DSM-6 and DSM 1?  Is it possible to make profressional
quality nature recordings with the DSM-6?  On your webpage
the difference seems to be between the "10uBar 94-dB SPL
SENS." and "MAX SPL."  The only problem is that I have no
idea what this means!  Can you explain?

John M
Hello John,

Thank you for expressing interest and describing your interests.

The DSM-1S/H or 1S/M is best for nature recordings as the gain is much higher for recording low-level natural sounds and would also be very suitable for interview/voice work.  The SPL is 'Sound Pressure Level' and is quite limited with the DSM-1 models.  What this means is loud sounds are likely to create mic AND deck overloads. 

The DSM-6S/EH model is the next choice and would not easily overload itself or the deck for recording much louder sounds, but is not nearly sensitive or electronically noise-free enough for most recording of very quiet nature sounds.

ALSO ....... A WHB windscreen headband accessory (or use of a large well constructed umbrella) may be desirable for most outdoor work where the slightest breezes can create unacceptable noise.

Do you have a portable deck as yet??

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  Purchase
Date: 8/19/99 1:10:00 PM Pacific Daylight Time
From: (Dr. Richard J)

I'm about ready to make my purchase and I have a few questions.
I would like a similar setup as Dr. Jeffrey T; DSM-6 mic (but I
would like your recommendation, again, as to which one), with the Sony DAT
recorder that you've retrofitted with phantom power.
Please give me a price quote on this set-up, including time to delivery.
Will the mics be able to record flute music as worn by the musician?  Would
I need a phantom power supply for my digital studio, or does the DAT have a
line-out that I can use to the station?
I downloaded several of the sound files from your site.  They were very good.

Thank you,
   Dr. Richard J
Hello again Richard,

For recordings like those of Dr. Thompson and for headworn mic'd flute recordings, the DSM-6S/EH model would seem ideal for both requirements as having the most sensitivity and generous dynamic range for most closely positioned acoustic instrument work.

The PCM-M1 portable DAT does have line output (mini-stereo jack format) and may function as a DSM powering remote preamplifier (with or without tape installed) by just pushing the RECORD button on the deck.  The PA-10PFC is an alternative DSM powering adapter with Dual XLR output that may also be used and connects to long mic level cables for studio work into a mixing board or external preamplifier.  However, mic phantom power supplies must be TURNED OFF when using this system.

DSM-6S/EH ........... $550
PCM-M1 (MOD-2 upgrade installed) ............ $800
PA-10PFC ............. $225

ALL ITEMS ARE IN STOCK and ready for immediate shipment FedEx COD or Prepaid with payment of Money Order or Cashiers Check payable to Sonic Studios.

FedEx COD shipping is an additional $20.00 ........ prepaid orders are shipped free of additional ship charges.

Regards in Sound & Music Recording,
Leonard  Lombardo
<< Subj:  Sonic
Date: 8/13/99 7:09:48 AM Pacific Daylight Time
From: (Mike)

A friend of mine has the DSM-6P mics and let me use them to record a show
with my MD recorder.  I would like a set, but cannot find that model on your
web site.  I see other models, ranging from $75-$600.

Does the DSM-6P model still exist?
  Mike M
Subj:  Sonic
Date: 8/13/99 7:12:12 AM Pacific Daylight Time
From: (, Mike)

Sorry for the second email - I own a Sharp MD703 mini disc recorder - I
thought that may help in making a choice for the correct mics to buy.


Hello Mike,

The 6P is equivalent to the PA-6 (which powers the DSM mic) and any model DSM-6/xx model microphone that's suitable for what your expected to record.  HOWEVER, The sharp 702 can power the DSM-6 directly without using a PA module---(anyway, I believe this deck is identical to the newer 722 model in correctly powering the DSM). 

What you would probably need to consider is the DSM-6S/M for Folk/Jazz/medium loud Rock/Blues or DSM-6S/L for doing the louder/bassy Rock that's most common with today's concert/club scene.  Both these mic models are in stock at $450; the lower cost DSM-6/M or/L ($350) are not in stock at this time and will not be for at least 2 months.

If recording mostly loud & often excessively bassy Rock (and also if you like to be close to the PA speakers) then also consider one of the PA-6LCxx models to power the mics and supply a bass reduction filter for getting a cleaner sounding recording.

Regards in Sound & Music Recording,
Leonard  Lombardo

<< Subj:  microphone question...
Date: 8/12/99 8:01:12 PM Pacific Daylight Time
From: (Amy )

Hi, I was just visiting your website and I have a question - I'm a classical singer in the market for a microphone to use easily in my home or studio to make demo tapes (usually me with piano).  I know very little about microphones.  What choices would fit my situation?

Hello Amy,

Thank you for expressing interest and including your recording interests.

Before I can make best appropriate suggestions, please let me know more about
1. what mic inputs or recording equipment you now have, (recording deck, mixer, mic preamplifier, etc)

2. the type of piano in your studio,

3. if you are playing piano and singing at the same time and if you also work vocals without piano

4. do you have someone available to assist you during the recording process.

For acoustic work, the DSM-6S/EH ($600)  (or second choice DSM-6S/H @ $500) are suggested mic models. 
Powering the microphones with appropriate model portable deck or PA powering adapter needs to be determined.

How you'd use or position the DSM will depend on your answers to a few of the above questions.

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo

<< Subj:  Re: purchasing DSM mics
Date: 8/2/99 3:12:16 PM Pacific Daylight Time
From: (Darren )

  >Hello Vicky,
>Thank you for considering the purchase of a nature sounds DSM-1/H mic
>I hope that you understand that the DSM-1 type models are a very sensitive,
>high output/low noise mics specifically designed for low level
>sounds and not suitable for loud or amplified sound recordings.
>Please let me know your main sound/music interests and intended recording
>deck and/or mic preamplifier to double check on the suitability of the
>ordered microphone system.

Dear Leonard and Debbie,

Here is a brief idea of what I want to record: I am a fine artist working
with space and sound. I am currently experimenting with recording the subtle
ambient sound of essentially 'silent' spaces for playback within a quiet
gallery environment. I need a mic system that is sensitive enough to pick up
the ambiance of a space, with low self noise. I will be recording onto a new
Tascam DA-P1 portable DAT recorder.

Which of your mics would you suggest would be the best for this purpose?
Please could you let me know the prices, stock availability and confirm that
it can be shipped for $25 as a gift with an invoice mailed separately. Also
if I have any problems is there a money back guarantee?

I need these mikes very soon, so please let me know who to make out an
International Postal Money order out to and the exact amount neccessary.

Many thanks,
Get Your Private, Free Email at
Hello again Vicky,

If you really desire a true ambient STEREO recording, then the DSM-1S/H is really the only possible choice over more expensive and inherently lower noise microphones (as compared to DSM-1S/H).  However these OTHERS are large diaphragm, phantom powered MONO type mics with no ambient 'virtual 3-D' ambient recording ability and less high-frequency bandwidth than DSM; their only advantage is lowest available self noise. 

To use any DSM-1 or DSM-6 model with the DA-P1, a PA-10PFC ($225) powering adapter needs be used (plugged in-series with DSM and then into DUAL XLR deck mic inputs) and the 12-48 volt phantom mic power available from the DA-P1 MUST BE SWITCHED OFF.

Your satisfaction is important to both of us and every purchase is covered with a 60 day money back policy if the system is not working or exchange for a better solution is unavailable or desired.

Total money to send is $650 for DSM-1S/H + $200 for PA-10PFC + $25 for US Postal International Express shipping.

Send this as Intentional Postal Money Order in US Dollars or Direct Bank Transfer payable to Sonic Studios (please request the bank routing numbers if desiring this payment method).
DSM-1S/H Microphone model is in stock, but the PA-10PFC stock needs a week to again become available as a sudden demand has depleted the remaining stock.

Let me know if there remains more questions or considerations not yet sufficiently covered.

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo

<< Subj:  Mic info
Date: 7/31/99 12:18:02 PM Pacific Daylight Time
From: (Mike B)

    I am somewhat new in the recording world but have an exstensive tape collection.  A few of the tapes I own have been recorded with your keep it simple they are some of the best tapes I own.  I am in the market for nice pair of stealth mics, can you give me some information on the type of setup I can use.  My deck is a Sony D8, the recording conditions will vary.  I would like a mic that is good for both indoors and outdoors, and how much would the setup cost?  Any other information will be most appreciated.  Thank you for your time and look forward to hearing from you.
       Mike B

Thank you for expressing interest in my DSM microphones and for providing information about your recording interests and portable deck model.

To better suggest a suitable DSM microphone model, please advise me on the types of music that are most important to record. 

Most current types of Rock club/concert venue recording seem to require a DSM-6S/L mic model with option of using a bass reduction filter for improved clarity under excessive bass/boomy conditions.  Bass filtering is not always needed, but it's best to keep this option in mind depending on your tastes and conditions you may often encounter with certain types of music. 

Using a Wind reduction accessory is only a consideration when recording pure acoustic (no PA amplifiers), placing mics high up on mic stands, and where stealth is not an important requirement.

Please advise on your main music type recording interests for best suggestions.

Regards in Sound & Music Recording,
Leonard  Lombardo


Subj: Re: Stereo Microphones for DAT
Date: 1/14/01

In a message dated 1/14/01 10:23:30 AM Pacific Standard Time, writes:

<< Subj: Stereo Microphones for DAT
Date: 1/14/01 10:23:30 AM Pacific Standard Time
From: dthome.coml)

When the Sony TCD D-7 came out a number of years ago, I purchased the power pack and stereo microphone (the one that goes on eyeglasses) from you. It always worked fine (although the battery pack was a bit clumsy).

I now have a TCD-D8 and a TCD-D10, and I am wondering if there is a similar microphone available for these models. I am guessing that with the increased recording time available with regular batteries I would not need the battery pack, but I believe that the microphone I have will not work with the D8 or D10.

I have the microphones that Sony sells with these models, but I really liked the results with the eyeglass microphones.

Thanks for your help.

David R

Hello David,

Thank you for the positive comments on being satisfied with your DSM microphone.

I seem to not have record of your previous (to '96?) purchase of the DSM. My before '96 records are not complete due to data transfer losses to several newer computer systems.

So I need to update on what your sound/music recording interests are now. Also, please tell me if the DSM microphone you have worked directly with the older D7 (with having a mod-2?) for powering or if the DSM mic had a battery module that did this independent from the deck's ability for having properly upgraded Sony "plug-in-power?" External powering of the DSM microphones is discussed at:

I know the D8 is virtually identical to the D7, but is better implemented and does 44.1K sampled recording. I hope your other DAT deck is NOT the TCD-D10 (a rather large, but very out of date Pro style deck), but rather you meant TCD-D100? Please clarify this for me.

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo

Thank you for getting back to me.

To answer your questions, I would use the microphone for recording live classical and jazz music performance.

The microphone I purchased worked directly with the D-7, without external power (the external power was to power the deck itself, instead of using the AAs or whatever battery it was that could be used, to give me more recording time). The microphone was rigged so that one part plugged into the input line and the other plugged into the "plug-in power" line. (It still works fine, as far as I know, but the deck has a few problems). I see that neither the D-8 or the D-100 have the plug-in power in the same place (or maybe I can't find it).

You are absolutely right, my deck is the D-100, not the D-10.

I am glad to see that you are still alive and well, and I look forward to checking out any new products.

David R

Hello David,

From your description of the DSM microphone, your mic was DSM-3 model (no longer made) and previous DAT deck was in fact a TCD-D3. The DSM-3 was with separate mic and power plugs that only would work with the uniqueness of the D3's dual jack system.

The current set of decks from Sony do power the microphones, but use the more common mic "plug-in-power" that supplies the mic power FROM THE SAME JACK as is the mic input.

Current models of DSM use this feature, but the Sony Decks now need an upgrade for this to work with DSM models; see for powering information and options.

For your more acoustic and moderately loud PA'd jazz type music, the DSM-6S/H or DSM-6/H models is the best current choice; see DSM mic page .

What your older mic is model equivalent to I can only tell if you send it in for complete refurbishment to clean and recondition it as best can be done and that would make it work with current models with plug-in-power by removing the dual plug module on the mic presently. Also needed is to have the MOD-2 upgrade done on the D100 DAT; so that the deck is powering the microphone correctly by again just plugging in the mic.

Total cost (providing your present microphone is in restorable condition, fits your present music requirement) is $170; if a newer model DSM is indicated for any reason, I will give you suggestions as the need appears. Send me both the D100 and the microphones with payment and your current shipping address/telephone.

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo

Subj: Re: Stereo Microphones for DAT
Date: 1/17/01
In a message dated 1/17/01 6:59:26 PM Pacific Standard Time, writes:

<< Dear Leonard & Debbie:

Thanks again for the education. You are again right - my original DAT was a TCD-3, and I had much fun using the microphone recording live opera, oratorio, string quartets, etc.

I am wondering if I could use one of the newer microphones with one of the PA-XX power adapters. What would you recommend for a mike and a power adapter for my recording uses? Is there a mike and an adapter that could be used with both the TCD-8 and the TCD-100?
With much appreciation and admiration

David 1/17/2001
Hello David,

The DSM-6S/H ($500) seems the best for most acoustic and light to moderately loud PA'd traditional Jazz/Pop venue recording. If frequently into Fusion Jazz, then the DSM-6S/M ($450) (with 1-3 db lower sensitivity) may be better for handling some really 'pushy' bass notes found at large venues with this Jazz style. If you want to trade-in your present DSM-3 microphone for $100 credit towards a new (likely better suited) DSM-6S/H or /M mic set, then send it in for just trade-in credit purpose.

While you could use the PA-6 ($75) to power any DSM-1 or 6 type model with any MiniDAT or MD deck. I strongly suggest, with having the excellent D100 deck with upgradeable mic powering feature, your are best to consider having the MOD-2 ($85) service here; this is quite safe and I've done this kind of upgrade on over one thousand D7, D8, D100, and PCM-M1 decks in the past 8 years without incident. This makes a much easier system with far less wired hardware to use (like the D3 & DSM-3 pervious system) and is technically better with having not having redundant signal path components, and one less plug/jack interface to maintain from potentially screwing with the audio quality.

If these suggestions seem OK with you, then let me know if large venue Fusion Jazz is anticipated and plan to send the DSM-3 mic, and just the D100 deck (sealed in a zip-lock for keeping all dust out) fully double padded and insured with payment:

For USA/Canada prepaid orders, send your request with your return address + prepayment personal check, Cashiers Check or Money Order to:

Sonic Studios
1311 Sunny Court
Sutherlin, OR 97479

The deck & mic will be returned FedEX, so include a good weekday delivery option with telephone number.

See USA Prepaid Order FedEX options at:

Regards in Sound & Music Recording,
Leonard (& Debbie) Lombardo


<< Subject: Help! Looking for Mic for Canon Optura
From: A <>
Date: Thu, 28 Dec 2000 17:43:13 GMT


Anyone have any luck finding an extrenal mic that works with the Canon optura MINI DV camcorder.

I have a $1,300.00 Studio Recording Mic as well as numerous other Pro Mics, so I don't want to spend $300 US on Canon's stereo mic, I just need an adapter for the one's I have or a decent priced external mic.

Thanks, A ------

My site has right angle molded Mini-Plug to standard mic connector adapters of all kinds so that you can use any of your (already powered) standard mics, but you might overload your camera with the high output level available from most studio mics with music (maybe use a lot of in-line attenuation if using these).

See the adapter table on this page at:

I have supplied a few DSM-6S/M stereo microphones for use with this model camera and the users seem quite satisfied with them being quite compatible for doing field documentary work.

However, there are other issues about the lack of audio input features on most of these mini sized cameras that needs be considered for particular applications like music. There is a page dedicated to this subject with some suggestions at:

Regards in Sound & Music Recording,
Leonard Lombardo

<< Subj: Field recording
Date: 12/11/00 2:22:18 AM Pacific Standard Time
From: (Ron)

Hi there,

I'm running an academic research that involves recording of seagull’s acoustic communication in a windy area.

We were impressed by the variety of solutions you offer for overcoming wind noise, but I’m not sure you can help us, because I'm afraid the voices we're looking after are within the frequency band of the wind.

We are talking about winds of up to 30 knots (15 m/s).

Besides the familiar high frequency yell of seagulls, there are low frequency sounds that we’re interesting in. These sounds are in the range of 80-400 Hz, where I’m afraid the wind is playing. So, it seems that separation of SIGNAL from NOISE on frequency basis is impossible (?).

My questions sre:

1. Do you have any idea (how to pick the signals from the wind noise)?

2. Do you have the spectrum of the wind noise in various speeds?

3. Do you think that your wind suppression equipment will suppress non-coherent noise (wind) but will transfer coherent signal (birds calls)?

Many thanks


Hello Ron,

This seems not a problem with using a suitable DSM-1S/L ($400) or DSM-1S/M ($550) model mic pre-mounted in the WHB/N ($190) windscreen headband.

The wind velocity you mentioned should be well suppressed and not significantly interfere with recording frequencies above 50 cycles.

Wind does not usually have a particular audible frequency range (it is a basically a variable pressure wave of extremely slow rate intensity variations) and is only heard if the microphone's interfacing mechanics produce audible anomalous modulation or nearby trees or natural/man-made structures may also produce audibly wind generated sounds. Choose a location that is inherently free of these mechanisms for best results. Using a DSM system as described above on 50-70 MPH moving roller coaster rides recently produced virtually noise-free recordings for a Skywalker Sound project. See DSM mic descriptions at:

Using a Portable DAT recorder (rather than considering MiniDISC) is best for your stated purpose. The Sony PCM-M1 ($850) is suggested and in stocked here. See Review:

Also strongly suggest using the BC-1W ($100) M1 DAT powering and deck carrying system that allows 25 hour powering, easy viewing, and push-button operating of the M1 deck within a wind/moisture protected enclosed environment. BC-1W is new and without a site photo/listing for a few days, but a picture of the BC-1 ($80) is a similar M1 powering accessory but without the clear operating window and is shown on page:

Using a PA-6LC ($125) as an in-series DSM mic powering, 85 cycle high pass filter may also be considered helpful in reducing any unavoidable ambient low frequency content in the recording. Motor car/truck traffic and industrial produce low frequency noise seems quite common in most locations these days. See:

Regards in Sound & Music Recording,
Leonard Lombardo


What's on Sonic Studios Web Site? (Click underlined text, and navigation photos)
Patented Stereo-Surround Microphone Technology
Passive DSM™ Mic Powering/Bass Filters
Eyegear/Headband/HRTF Baffle mountable matched omni mics
Stops wind blast noise; transparent acoustic design; records real wind sounds
for MD, DAT, CF, HD, and Video Field/Event/Studio Recording
Stereo-Surround Omni Mic Baffle for Stand, Fishpole, Studio Boom, and Ceiling

Portable Deck Power Solutions

Patch/Adapter Cables

Field/Studio Monitoring Headphones, Reviews


High-definition, low noise, very wide bandwidth preamp designs to fit any field/event/studio application using DSM™ stereo-surround mics.

MONO ONLY 'Lombardo' Lapel Mic for interview, Narration, Lecture, and clip-on acoustic instrument Recording

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