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studio into anywhere you like with a portable DAT deck and DSM mics.......... cut a track or an entire album within a unique ambient setting. Best Regards in Sound & Music Recording, Leonard Lombardo ---------------------------------------- >Subject: Re: What is a good dummy head? >From: John > >Date:Wed, 15 Jul 1998 22:44:16 +0100 >Everyone has different-shaped heads, and oddly-shaped ears, so >generalising is difficult. One person could have difficulty, whereas >another may easily discern the difference between front and rear. I >suppose this applies to simulations as well as in real-life. >- - - >John . email: drop the www., and modify to 'newsrep@' ... >www.comp-.uk > > The problem of including the ear shape to model a practical HRTF is indeed because of the personal 'fingerprint' character of individualize ear convolutions........ to me, no working generalization of directional cues can include the ear and canal successfully. The head...... with its very unique effect on the sound field, can be much more generalized for HRTF modeling...........mostly due to the fact that head shape and size variations are much less than practically any other human feature. Head width size rarely varies more than .5 inch for the majority of the population. And the ratio of head height to width is also very uniform in the population. This gives us a much more useful approach to modeling ...... when the just head... minus the ears is considered for response modeling. The patent granted me for a method of dimensional recording using just this mechanism has proven very successful in general for wide playback mode compatibility with this method, while retaining a high degree of desirable dimensional cues. No method of modeling has proven totally realistic in all or most situations when recordings are done following each method. The problem is also with the selected method of playback. It would seem that upon choosing a particular model for HRTF, doing a method of acoustic recording or synthesis of sound based on this model, the playback method would seem at least as critical as the method of producing the sound track........ if near absolute listening reality (with correct and convincing directional cues) during playback is to be achieved. For me, modeling or using the acoustic HRTF of just the head without the ears gives a the most practical and realistic HRTF.......... and allows a practical microphone method that translates well for the most people under the widest playback conditions. I've developed an exact acoustic of the head using Sorbothane (see their web site or mine for more info). This special head (DSM- GUY) is currently being used by the BOSE Corporations acoustic lab to develop more advanced HRTF modeling and by some
composers to record special acoustic performances in 3-D stereo. Using this type of head as a baffle, with very high quality matched set of spaced miniature omni mics (use mine or some suitable other brand), will allow an eloquent method of acoustical 3-D stereo recording suitable for ambient field, performance, or studio situations. Best Regards in Sound & Music Recording, Leonard Lombardo ---------------------------------------- > I have had many customers that have originally purchase this mic ......... the M1 DAT is an excellent deck and is limited only by the quality of the input. However, Sony single point stereo mics all have common problems of very poor stereo image, rolled off bass (not a bad thing if recording the typically bassy Rock/Blues venue), and loudness handling limitations for the louder or loudest type concerts ...... bass distortion is audible when this mics 118db-122 db max SPL's are exceeded. Suggest you look at my web site listed below for the DSM-6S/x (x is the sensitivity rating and max SPL rating of various models of DSM-6) .......... the M1 is either needing a mic powering upgrade for directly powering the DSM ........ or........ use of a PA-6xxx powering adapter with or without bass rolloff switch feature. Let me know your desired music for recording for exact suggestions on an appropriate system for your requirements. Best Regards in Sound & Music Recording, Leonard Lombardo ----------------------------------------
Page 1 and 2: Sonic Studios OTHER MICS VERSES DSM
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Page 7 and 8: Let me know what you find out about
Page 9 and 10: I'd like to have your product compa
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Page 15 and 16: Subject: mic comparison Reply-To: c
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Page 19 and 20: There has been more than one person
Page 21 and 22: vendors links page. COMMENT: Yes, C
Page 23 and 24: afford" Starting with the best know
Page 25 and 26: Leonard Lombardo ------------------
Page 27 and 28: pipes. I thought maybe a binaural a
Page 29 and 30: guitarist actually hears from the a
Page 31 and 32: practical and performance issues...
Page 33: use the omni set in a specific way
Page 37 and 38: discontinued 063 and the current 06
Page 39 and 40: almost anyone in respect to input p
Page 41 and 42: http://www.tapetrading.com/ "It see
Page 43 and 44: Best Regards in Sound & Music Recor
Page 45 and 46: available microphone experts. As fa
Page 47 and 48: I'm currently shopping for a pair o
Page 49 and 50: manufacturers to offer and very dif
Page 51 and 52: What is the best single-point stere
Page 53 and 54: http://www.sonicstudios.com/mp3.htm
Page 55 and 56: My site has 'too high a quality for
Page 57 and 58: eception. Without the HRTF receptio
Page 59 and 60: the way big--time. The need to reco
Page 61 and 62: motions to check the deck's VU are
Page 63 and 64: I will gladly admit that this $7000
Page 65 and 66: LAPEL MIC Stereo Mics for MiniDISC,
Page 67: Avoiding Input Distortion DAT Deck

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