CHOOSING A DSM Stereo Microphone Model FAQ ... - Sonic Studios

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CHOOSING A DSM MODEL PAGE 

Vehicle Sound and Effects Recording 

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

Hi 

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 

Mick Sxxxx 

wxxxxxxxx05@aol.com 

This page as Adobe Acrobat Reader PDF DOWNLOAD 

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: http://www.sonicstudios.com/mp3.htm 

------- 

PROJECT REQUIREMENTS: 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 

LOUDNESS: 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

affled (coherent), and the usual artificially (out-ofcontext/incoherent) 

mic'd sound. 

SYSTEM SUGGESTION: 

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 lappillow, 

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:http://www.sonicstudios.com/tips.htm 

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: http://www.sonicstudios.com/ordering.htm 

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, cmxxx@sbcglobal.net writes: 

Leonard,

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! 

Thanks, 

Chris 

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

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 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: http://www.sonicstudios.com/ordering.htm 

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


Leonard (& Debbie) Lombardo 

---------------------------- 

In a message dated 12/24/01 5:05:41 PM Pacific Standard Time, gxxxxxxxxxe@mindspring.com writes: 

As you and a few others now seem to realize, recording the way a piano actually sounds (like hearing it live) involves a special 

stereo microphone/method. The DSM method uses two very high quality miniature microphones Headworn or mounted on a 

LiteGUY HRTF baffle. The type of recorder you use is far less important than the microphone system so even a Sharp type 

MiniDISC is quite usable for making excellent quality recordings. 

Lowest costing DSM microphone/deck system suitable for your needs is the match-spec discounted DSM-6/H ($400) + Sharp 

MT90 ($170) MiniDISC deck for $570 total cost. 

Better system is like above, but substituting a DSM-6S/H at $500 for $670 system cost. 

Best possible (Headworn) system is the DSM-6S/H ($500) + Sony PCM-M1 DAT deck ($850 w/MOD-2) costing over double the 

base system cost at $1350 total. 

See DSM mic page at: http://www.sonicstudios.com/dsm.htm 

See M1 deck review pages at: http://www.sonicstudios.com/d100rev.htm 

Regardless of cost, any of these systems will satisfy the desire for making excellent real-piano sounding recordings when 

following the tips about using the Low REC range on MD; also a good tip to follow for DAT deck, but not nearly as critical. 

See tips page at: http://www.sonicstudios.com/tips.htm 

Recording without the need for someone wearing the DSM microphone requires an acoustic HRTF (acoustically accurate dummy 

head baffle) accessory. The LiteGUY ($750) HRTF baffle is the best available for this purpose and may be mic stand or boom 

mounted as shown on page: http://www.sonicstudios.com/liteguy.htm 

NOTE: To allow direct digital output/input of recordings (into a computer soundcard) made on a portable DAT or MD deck 

requires either a Sony Toslink accessory cable (~$80 for M1 DAT) or the additional purchase of a standard AC powered MD nonportable 

deck with digital output ability ($100-$200) for playing MD discs into a computer soundcard with proper inputs. Line-Level 

Analog output is always available as a lower quality second choice output on either deck without need for special adapter or 2nd 

deck purchase. 

Please let me know if one of these system suggestions meets your budget and requirements. 

Payment/Shipping options are explained on page: http://www.sonicstudios.com/ordering.htm 


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" 

> 

Hello again Ali, 

Most all Sony recording portable MD, DAT, and Camcorders have a feature that supplies power to the microphone from the mic 

input jack. Typically this power is quiet a bit short of operating the DSM for acceptable performance, but this power available 

varies widely with the model of deck. 

The MZ-R30/50 models have the most power available of any tested model so far and could be used without MOD-2 internal 

circuit upgrade or PA-6 external powering adapter with very good results. I suggest this to keep within your budget and because 

the MOD-2 or PA-6xx is more an option with these particular models for a bit better performance or bass control from the DSM. 

The PA-6xx adapters have an output plug to plug into the deck that's identical to the plug on the mics and have a jack to connect 

to the mic plug; with these options, nothing is permanently wired and disconnects or connects quickly. 

Right now, only one picture is shown of a PA-6LC3 adapter on page http://www.sonicstudios.com/access.htm however, they all

look identical. 

With the Sony MD, external powering or deck upgrade is almost not needed as with other models of Sony decks with the Plug-in- 

Power feature. So go without it for awhile and consider either the internal upgrade to your MD deck (most convenient) or using a 

powering adapter (perhaps learning to need a PA model with excessive Bass control switch) only after recording some typical 

venues. 

DSM-6S/L would be a good match to the MZ-R30 or 50 model and cost $425 (Reg. $450) MZ-R50 is priced about $350, so your 

total system cost is $775. This leaves funds for buying blank discs. 

DSM-6S/L is in stock and can be shipped immediately when you're ready. See the http://www.sonicstudios.com/ordering.htm 

page for ordering details and options. You must phone in the order here, but info on this page will allow you to know your best 

shipping choices and prepare for supplying ship to location for FedEx delivery. 



====================== 

Subj: Re: WHB + DSM 

In a message dated 12/18/01 5:40:25 AM Pacific Standard Time, Nickweeb writes: 

Hello Nick, 

Thank you for requesting information about a DSM recording system and for providing good background on your interests and 

DAT deck model. 

The DSM-1S/M ($550 USD) is an excellent hi-gain/lo-noise model choice (in stock) if mostly recording lower than 108 dB SPL 

encountered in nature and non-loud factory industrial urban ambiance. 

NOTE: Best results are always when the DAT is used in the MANUAL LOW or -20 dB ATTN MIC input setting, even 

if Level set knob is at Max #10 for barely getting adequate -20 to good -12 dB VU readings. See tips page at: 

http://www.sonicstudios.com/tips.htm 

However, if much louder source ambient/effects/music recording (110 to 122 dB SPL) is also of main interest, then the DSM- 

6S/EH or /H ($600 or $500) may be a better choice, but these models are NOT so good for lowest noise spoken word and quiet 

background nature recording. 

See DSM mic page at: http://www.sonicstudios.com/dsm.htm 

The WHB/N ($190 USD) is essential for doing outdoors recordings and provides protection from Sun/Rain/Wind interference. Best 

to order DSM model with WHB/N together as one-piece premounted assembly for best performance and consistent stereo image. 

The stock D7 DAT will not power the DSM microphone well enough so an in-series PA-6LC2 ($175) model is suggested for this 

function and this model adapter also has an 85 cycle (On/Off switchable) bass filter for lowering the ever-present rumble of auto 

traffic/or very strong wind sound. The filter helps to provide a cleaner recording of urban/rural ambient where >85 cycles mid to 

upper audio frequency range is of prime interest. 

See DSM mic powering page at: http://www.sonicstudios.com/pa_x.htm 

System cost summary: 

DSM-1S/M . . . . . $550 

WHB/N . . . . . . . $190 

PA-6LC2 . . . . . . $175 

EMS ship . . . . . $ 25 (See Overseas Ordering section on page: http://www.sonicstudios.com/ordering.htm ) 

________________________________ 

TOTAL $940 USD payment sent with your shipping address/tel# to: 


1311 Sunny Court 

Sutherlin, OR 97479 USA



---------------------------- 

the Fly-By sounds. Going in Line input would eliminate deck overloads (with using a necessary separate PA mic powering 

module) if VU signal levels are adequate after the 20 DB less gain afforded by that input. The DSM-6S/EH is more versatile for 

handling greater SPL, but for mostly nature, moderate level EFX, and conversation recording performance with the least possible 

mic/deck noise, the DSM-1 models does have my preference. Either one will give you excellent results for acoustic quitar type 

levels within 1-2 meters distance and in general terms .......... it's more a question on how versatile you need your 'only' mic to be. 

Do you think it would make a tangible difference in my applications if I 

were to go for the upgraded PRO+ level for extra careful matching of the 

channels? I will be processing all my recordings through the computer 

and I can alter the levels of each channel manually, using the program 

Cool Edit Pro. If I get a non-signature set of microphones, would they 

be consistently mismatched in such a way that I could apply a level 

increase or reduction identically for each recording? 

REPLY: DSM-x(S) grade is more than better matched at just one frequency. The 'PRO' grade deals with the entire bandwidth 

where stereo imaging of complex acoustic sources can be audibly better. This characteristic is not easily DAW normalized 

because it's frequency variable. I am discounting some of the PRO grades by as much as $100 from listed prices right now, so 

you should consider getting the better grade if still affordable. 

Finally, what sort of sensitivity do I need to capture the lowest sounds 

I'm after? I'm talking about bird calls, or someone talking in a quiet 

room from 10' away or so. I think I'm leaning toward the DSM-1/L model, 

which I think would give me the right level range, but what do you 

think? 

Thanks a lot for your time, and I hope to place my order with you very 

soon after I get a reply. 

Jamie 

>> 

Hello Jamie, 

Thank you for expressing interest in our unique recording products and providing details on equipment and requirements. 

Having the M1 deck mic powering feature MOD-2 ($85) upgraded is advisable for the best utilization of deck/microphone and for 

the most reliable and compact system. 

If best low noise performance is important for mostly recording natural sounds of birds, nature, and human vocal, I'd go with the 

DSM-1S/M or L for the most satisfying low noise reach for these sources. 

Later, you might expand your interests to much louder sources where one of the DSM-6S/M or H microphones would be more 

appropriate. 

The DSM-6S/EH would be the choice for having just one most versatile microphone that would be quite adequate with moderately 

close held conversation especially when within an average size reflective room, acoustic instrument sounds of quitar, piano, and 

choral; also allowing an excellent range of EFX recording from soft to moderate loud sources.

You've got plenty of time to check out whatever seems a good fit, exchanging for full purchase credit to a more suitable model if 

found necessary. 

BTW, I've just finally taken the plunge into the DAW to CD world myself ...... For continuing support of various local musicians 

who desire to record/produce CD projects and for my own nature recordings of wildlife/EFX sounds at remote locations ......... 

where I can actually produce mastered CDs via laptop portable system or also use a second Tower-Based DAW in the office. 

Technology can be really fun if money and time were no object to expressing and realizing creative urges. 

Let me know of any other considerations by phone or E-mail anytime. 



---------------------------- 

Michael 

______________ 

>> 

Hello Michael, 

Many film projects on a budget are addressing real-time sound recording in stereo. This may actually be a better choice for stereo 

sound quality reasons. 

As you may know, a MONO shotgun or cardioid directional mic (with windscreen) mounted on a fishpole boom or body mounted 

lapel mono mics on the talent (RADIO TRANSMITTED) is the usual for capturing close-up dialog of up to 3 people. This is most 

practical when only a small or tightly spaced group is in the scene. These types of recording methods records a fairly low quality 

but adequate for dialog mono sound; but, it is often replaced with sound booth sync dialog and cataloged or foley acted sound 

effects in post. 

Mostly, scene dialog is usually not mic'd with stereo (cardioid pair or single stereo shotgun) mics because aiming is often too 

critical and stereo image from these mics is very inconsistent. Mono is more consistent for voice sync or post production edit mix 

purposes. 

However, some low budget projects do record the scene in real time using an ambient stereo microphone such as the DSM-1S/M 

($550) with WHB ($170-$190). This model of DSM microphone is a low noise, high gain model for mostly dialog and low level 

ambient recording. Headwearing the DSM mic and using a Sony DAT or Sharp MD will record EXACTLY (virtual reality surround 

sound stereo) what the person wearing the mic is hearing at any chosen position within the shoot. 

For getting more reach, the same DSM microphone can be fishpole boom mounted (fishpole, adapters, & 3CCD DV camera 

shown is not included) with a LiteGUY baffle ($600; weighs ~2 Kilogram) to extend out to nearly 3 meters for capturing sound 

from any perspective within boom reach. 

ALSO See HRTF LiteGUY baffle page at: http://www.sonicstudios.com/liteguy.htm 

2 meter DSM Mic extension cable is most useful with boom work and is $35. 

PCM-M1 DAT with mic powering MOD-2 is $850 (review at: http://www.sonicstudios.com/d100rev.htm ) or any Sharp MD can be 

used or is $170 with mic system; models shown at: Best Sharp MiniDISC Models Past and Present 

Since you already have a D8, you might consider powering any DSM mic with the PA-6LC2 ($175) that also has an 85 cycle bass 

filter that is better used (switch this on) when recording dialog in urban area especially with automotive/industrial motor 

background noise. 

See DSM mic powering and Bass filters at : http://www.sonicstudios.com/pa_x.htm

Payment/Shipping or Ordering options at: http://www.sonicstudios.com/ordering.htm 

MP3 of dialog, music, SFX at: http://www.sonicstudios.com/mp3.htm 

Let me know with a call or e-mail if these suggest make sense for your requirements. 



---------------------------- 

Subj: Re: SS Mics 

In a message dated 12/16/01 1:35:56 PM Pacific Standard Time, mike@disintegration.ca writes: 

Thanks, 

Mike 

>> 

Hello Mike, 

The DSM-6S/L (or /EL) model seem the correct choice for your recording interests and style. 

The powering box you now have would seem to work well enough judging from recent experience of a customer in Uruguay who 

also used a similar powering module that used a 9 volt battery. Because of this report (see customer feedback section of FAQ 

PAGES) I am fairly certain you can get good results using your existing module and going in MIC input at -20 dB ATTN setting on 

the DAT. 

Send $450 USD + $20 shipping = $470 USD here with your mailing address/TEL # to: 



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. 



---------------------------- 

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" 

I am about to order your DSM-6S mics, but want to be sure I'll be getting 

the right ones. I am using a Sony MZ-R909 MiniDisc recorder (and 

occasionally a Sharp 722) to record acoustic classical music concerts with 

seats as close to the stage as possible. The source is soloist, string 

quartet, classical size orchestra and, sometimes, modern size orchestra. My 

current mics are the Sound Professional premium binaurals, with battery box, 

that I attach to my wrists under (but not covered) by my jacket (yes this is 

a stealth job). The results in places like the Haydnsaal in Austria, Queen 

Elizabeth Hall in London and Jordan Hall and Symphony Hall in Boston have 

been quite good - but - there is a certain brightness and lack of 

transparency that, while not ruining the recordings, makes me think that 

better microphones might eliminate. Also placement on the eye glasses might 

make a significant improvement in the sound field (my one concern in this 

regard is their visibility and my subsequent arrest and torture). These 

recordings are primarily for listening to through stereo speakers. 

So, please let me know what you feel would best fit my needs and equipment - 

and what it will cost. I'll then place an order. 

Thank you, 

Richard Lxxxxxxxxx 

richard_xxxxxxxxxx@ed.gov 

>> 

Hello Richard, 

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

http://www.sonicstudios.com/dsm.htm 

Headwearing DSM in some suggested fashion (that's comfortable for you) will record EXACTLY what you are hearing at the 

concert in full bandwidth surround sound that's excellent for speaker playback. See mic placement and concert recording tips at: 

http://www.sonicstudios.com/tips.htm 

The Sony MD you now have will not power the DSM (correctly) and lacks effective mic REC Level settings. Better to use ANY 

Sharp MD deck (optimum quality in the LOW mic input range; see http://www.sonicstudios.com/tips.htm ) for best results. 

DSM mic powering options include the PA-6 ($75) if ordering from overseas and intend to be using a locally acquired Sony 

portable DAT deck without MOD-2 upgrade; see DSM mic powering page at: http://www.sonicstudios.com/pa_x.htm 

Payment/Shipping options are discussed on the ordering info page at: http://www.sonicstudios.com/ordering.htm

Acoustic instrument/orchestra MP3 recordings with DSM mics can be found at: http://www.sonicstudios.com/mp3.htm 



---------------------------- 

A suggested system is: 

DSM-6S/L ............ $450 

MOD-2 ................ $85 (service here is done within 48 hours, FedEx returned to you with DSM mic) 

PA-6LC3(B) ............$200 (Optional 85/170/250 or "B" 45/85/175 bass filter) 

Ordering info is also at: http://www.sonicstudios.com/ordering.htm 

For the MOD-2 upgrade on the D100, send "just the D100' deck in a sealed (from dust) plastic bag that's double boxed and/or double 

bubble wrapped within a single box to: 




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. 



------------------------- 

I have to look again to see if you have a bass attenuator (sp?) 

switch, but thought I'd drop this note for now. 

Let us know what the differences really are in your mics. I've seen 

the newsgroup controversies, Core-Sound's testimonials, your reviews, 

and am very confused at what to expect. 

Thanks. 

- Andrys 

>> 

Hello Andrys, 

Thank you for expressing interest in the DSM product. 

For your purpose of classical acoustic, the DSM-6S/EH (special $450 for now; or perhaps H) model would seem a good fit. 

(See http://www.sonicstudios.com/dsm.htm ) 

Powering the DSM is best done from a Sony DAT with MOD-2 ($85) upgrade (see MOD-2/PA-x Mic Powering Page ) 

For your purposes, you would not need bass reduction as this is appropriate for amplified Rock which is commonly much louder and 

boomy in the bass frequencies as compared with the rest of the program. 

DSM as compared to the Core, Oade, and Sound Pro microphones: With the other makes, You're getting less than your paying for in 

terms in recording performance, ease of using, sensitivity match to the deck for the requirement, and long term reliablity. 

Clarity of upper frequencies, handling noise immunity, precision electrical/acoustic/mechanical design is guaranteed to far exceed 

lower (and very much higher) costing options; providing you with much higher value for money spent. 

Please also advise on what model deck you're intending to use. 

I'm sorry to say that some Core Sound testimonials and secret comparison files sent out directly (I have been sent these sent directly 

here by his propective customers) are not honestly what they appear to be .......... Caveat Emptor. 



============================================ 

Subj: Re: DSM stereo mike 

Date: 10/23/98 

To: 

Hello Betty, 

Thank you for your expressed interest and for providing details on your deck & recording requirements.

I will attempt to answer most of your questions within your message copied below. 

The MOD-2 upgrade on your D7 is most recommended and involves you sending just the deck quickly to me (dust protected in a 

plastic bag and double boxed or bubble wrapped) via overnight service with a Money Order for $530 (see details below). This covers 

the cost of mic, deck mic powering upgrade, and overnight FedEx return to you so that you can most likely record your event on Oct 

29. 

Provide a FedEx return address + Tel number for a 'return to you' location. If more convenient, call FedEx at 1-800-238-5355 .. press 

* key for customer service, and write down the complete FedEx office 'pickup/Hold location address that is found to be close to your 

weekday activities so that you can pick up there until 8 PM weekdays...... 2 pm Saturdays. I still need an address for you and 

Telephone number + FedEx office address. 

Because time is very short, FedEx office is open Saturday until 2 PM in most locations for shipping here to arrive on Monday. Money 

Orders are availabe from many Grocery type outlets. If you prefer, just send deck and I can send COD back to you for Money Order 

or Cashiers check payment at that time. Ordering details is at http://www.sonicstudios.com/ordering.htm 

I know from experience that using the deck instead of the PA-6 is much more desirable for the recordists ease and consistant 

recording quality from better reliability of fewer inter connections. This is why I'm stressing this method with you sending in your 

deck quickly. 

However, to save you the effort of sending in your deck quickly, perhaps order the PA-6 for powering and I will take this back in trade 

for doing MOD-2 later +$25 extra to cover some refurbishment and FedEx shipping of the upgraded D7 deck back to you. 



---------------------------------------- 

at times i would be recording from quite a far distance from the sound 

source - 

upper balconies of large concert halls etc. 

REPLY: I would suggest no bass reduction for this type of music. Powering the microphone is best done with having the mic 

powering MOD-2 upgrade done to the D7. The second option is with using the PA-6 (both options cost $75) ............ or PA-6LC2 $165 

with on/off switchable bass rolloff filter 

(see MOD-2/PA-x Mic Powering Page for details) 

(3) does this mike pick up reasonably well at such far distances? 

REPLY: Records virtually the same as heard from any location. 

(4) is the mike suitable for both small groups and large symphony 

orchestras? 

REPLY: DSM-6S/EH is excellent for both situations. However, location is what's most important. Being within 15 foot distance (or 

closer) to small groups is an advantage. Balcony positions can be very good, but audience noises (coughing, seating squeaks, etc) is 

greater, and some reduction of the upper frequencies (by air absorption from distance) is to be expected with greater than 7 row 

seating in most halls 

I record mostly acoustic music 

(5) can this mike be used with camcorders? 

REPLY: Yes, (with using the PA-6 power method), but most all camcorders are using ALC or AGC mechanisms that squash the 

dynamics of the music and have inferior sound recording performance in general. Sound quality is a distant 3rd consideration to 

video quality in these machines. 

(6) WHAT SETTING would I use on the dat machine - low or high 

sensitivity....... and is it possible for me to use automatic record level? 

REPLY: Use Manual setting if you care about the expressed musical dynamics and mostly use the (L) Low sensitivity (-20 db setting 

on other decks) for getting about -12 db VU peak readings unless more gain is needed to accomplish this. Use (H) setting ONLY when 

Manual Level knob is at #10 full up and not able to get to -12 db VU for loudest passages. 

NOTE: D7 gives better sound if VU maximum peaks are set to be about -12 db..... don't adjust level for quieter passages, but leave at 

settings that correspond to only the loudest peaks. (See http://www.sonicstudios.com/tips.htm/ ) 

I am referring to the lower priced mike which I think you list at $450. 

the DSM-1 or DSM-6 

for my needs would the DSM-6 do? 

REPLY: The DSM-6S/EH is reduced to cost (for now) $450 and is only model (in stock) that would seem to fit your needs best. 

thanks for your attention. 

I'm attending some concerts next week - Oct. 29th on. 

so I would like to order with enough time to receive the mike.

I can have it delivered at a local Fed Express if that's the most 

efficient way. 

Is it more costly that way than having it delivered to my post office? 

Hope to hear from you soon, 

betty W 

>> 

======================== 

> 

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

ecordings for distribution. A microphone model that should fit your needs is the DSM-6S/EH for a special price of $450 US dollars. 

See http://www.sonicstudios.com/dsm.htm for complete information on the DSM microphone models. 

Using and Powering the DSM microphone is best done by an upgraded TCD-D100 or PCM-M1 Sony portable DAT. However, if a 

new upgraded deck purchase from here is not practical or desired, then powering the microphones with a suitable PA-xx powering 

module is suggested. Model PA-6 is the minimum powering module, but the PA-10PFC ($225 USD) may be more appropriate for best 

quality DSM to XLR-3 preamplifier inputs for location recording. More information on the DSM powering is found at: MOD-2/PAx 

Mic Powering Page 

The Jecklin disk method has many problems in providing a truly coherent ambient stereo recording that holds up well for many 

recording and playback conditions. The DSM headworn method will give the very best recordings and is the most economical and 

versatile method for consistent results, but two 'GUY' dummy head baffle models are also available for more 'conventional' type 

remote mic-stand mounted microphone uses. 

Signal to Noise performance is very good for being an exceptionally accurate small full pressure type microphone. Preamplifier and 

Mic noise is rarely a problem when the recording position is optimized and is fairly close in distance from the sound stage or 

instruments of interest. 

Please let me know of other considerations. General Ordering method is described at http://www.sonicstudios.com/ordering.htm 

Reviews about the DSM microphones are linked to the Home page and found at: Sonic Studios Review Page 



======================= 

> 

Hello Daniel, 

You've unfortunately asked the wrong group (or at least got the usual poor info response from those few regulars who posted a reply) 

for practical advise on field equipment. This has been the story with this group of studio 'gurus' for quite some time. 

My site has the information you desire about the microphones and recording equipment specifically for this purpose. The TCD-D8 is

a good deck, but the TCD-D100 is a better investment for the extra money spent for the a much improved recorder of exceptional 

recording quality with all the built-in features missing from the D8. MiniDisc is a great way to get an inexpensive recorder of very 

good quality for your purposes and will not be out of date for at least 4 years. 

The DSM-6(S)/EH or H is an excellent interview microphone and the Sony MZ-R30 or R50 can power the DSM directly without 

additional powering concerns. 

URLs on my site to look at are: 

For microphones http://www.sonicstudios.com/dsm.htm 

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

For Ordering: http://www.sonicstudios.com/ordering.htm 

Reviews linked to the Home Page are also useful. A few hundred media interviewers now use a DAT or MiniDisc with the DSM mic 

system with full appreciation of the quality and ease of field use. 

Let me know of other questions you might have anytime. 



====================== 

> 

Hello Darrell, 

Thank you for expressing interest in the DSM recording system. 

The DSM mic method will give you the results almost impossible to achieve with any other means regardless of budget. 

I now have two mic baffles allowing the DSM process to be mounted on a mic stand for greater freedom, but you should 1st try the 

mics using a person worn method to best determine the best positioning and mix of all the acoustic elements in the ambient. 

The DSM-6S/EH or H would seem a good fit if working mostly with acoustic non-amplified sources. 

If amplified and relatively non-acoustic, then the DSM-6S/H or M may be better suited.

If you can access my web site, there is more info there than is practical to send via surface mail, but I can also send informative 

material 

to your supplied address if browsing is not practical for you. 

Look to the Mic chart at: http://www.sonicstudios.com/dsm.htm for more details and the mic powering page at: MOD-2/PA-x Mic 

Powering Page for DSM powering considerations. 

A portable TCD-D100 or PCM-M1 DAT deck is about as good as it gets for direct to two channel recorders in an all-in-one unit. 

Please let me know about the need for surface mailing and any questions that arise from the information presented on either source. 



=============== 

> 

Perfect application for the DSM microphones that's being extensively used with DAT and MD portables for this exact purpose and 

many other field sound requirements. See the mic chart at: http://www.sonicstudios.com/dsm.htm for the models, but probably a 

DSM-6(S)/EH or H would work the best for general city type sound ambient work. 

Also, read some of the reviews linked to the site's home page listed below. 

Also See: MOD-2/PA-x Mic Powering Page for powering options, but if your MD is a Sony R30 or R50 and you don't record 

massively bassy rock music sounds, then just plugging into the Sony MD models would work very well without further considerations. 


Leonard & Debbie Lombardo 

=================== 

Date: 11/28/98 9:49:30 PM Pacific Standard Time 

From: (GK) 

To: guysonic@aol.com 

Hi Leonard, 

This is a long one, hopefully you're patient :) 

I'm considering getting your mics or dare I say it, Len's mics. I 

currently have a sony D8 dat deck. I'm interested in recording 

Broadway musicals: phantom,les miserables, miss saigon, rent, etc. 

etc. These shows are NOT high spl recordings. What would you 

recommend? 

First off, let me tell you what I was thinking of buying from Len. 

Core sound binaural (battery box) and the Zefiro Inbox. The zefiro 

inbox sounds very good just because it'll work well with my digital 

only sound card. The zefiro cost is no more than if I were to sell my 

d8 and upgrade to an d100 or m1. 

Does the mod-2 make my D8 pre's sound almost as good as a d100/m1? 

I'm asking because I'm wondering if I should upgrade to the d100. 

What I really want to know is what is the best solution for my D8 in 

the $600 price range (total). 

thanks 

Glenn K 

>> 

Hello Glenn, 

If you can afford the upgrade, the TCD-D100 is by far a more practical choice with excellent preamplifier (for at least unbalanced 

mini-mic type inputs) and does contain a precision Dual 20 bit AKA Semi A to D convertor. The D100 also has almost everything not 

so great about the D8 corrected in spades, and is much smaller and sturdier of transport. D100 Powering is a consideration that is 

easily handled, but not nearly as straightforward as the D8 which can take simple alkaline cells for 4+ hours operation. Talk to me 

about this when you decide......... I have the D100 with the mic powering upgrade in stock for only $825, but you can buy this via 

mailorder for a few dollars less and later send me just the deck for the $85 dollar MOD-2 upgrade anytime later. 

The DSM-6S/EH, reduced to $450 for a little while more, is a very precision matched, extra high gain) model that seems the best 

match for doing mostly acoustic theater and moderate loud orchestral venues. 

Core doesn't seem to distinguish real precision matching or model sensitivity ....... that's a more customer specific requirement, other 

than rock level handling ability in their CSB models. Maybe only upon special consideration, but I know from getting plenty of 

previous Core customers, you'd much happier in the long run with all the mechanical build, acoustic, specific sensitivity, ease of 

recorder setup, and recording quality benefits of the DSM product. 

==========================

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. 

================================ 

(3) Is there any way to monitor what's being recorded in real time? 

I like the Sharp Minidisc recorder but can't tell whether it 

is possible to listen to what's being recorded through the 

headphones. 

REPLY: You can monitor if keeping a distance from the microphone as to not record any sound coming out of the phones using any 

portable deck. 

(4) What's the MTBF on the Sharp MS722?. I plan on about 240 hours 

of recording and have no feeling for recorder reliability. 

REPLY: Although you may use the 722 MD, I would not recommend using any minidisc for ambient nature sounds as there is a subtle 

to very distinct alteration of recorded sounds (depends on the sound) due to the lossy compression used by these devices. A DAT deck 

is more suitable for your purpose 

(5) Will your DSM microphones work at low temperatures? 

REPLY: Yes, as long as condensing moisture is not a factor; going from warm to cold can cause non damaging moisture to 

temporarily form on the diaphragm and dampen high frequency sound reception. All decks are also sensitive to this. Keeping all 

sensitive equipment sealed in a waterproof bag with moisture absorbing disiccant and allowing the sealed away equipment to arrive at 

the lower ambient working temperature before unsealing will greatly help to avoid this when working in the field. 

Thanks in advance, 

Douglas McIntosh 

>> 

Systems suitable for your requirements are better served by a DAT deck, headwearing the microphones for long periods while seated 

quietly or using the HRTF baffle mounted on a tripod stand as described above. The windscreen is an absolute requirement as well as 

the ability to run the deck on external long lasting batteries. 

Let me know if you're still interested in a system or have further questions. 

Mic models suited to your music or sound recording tastes are listed at: http://www.sonicstudios.com/dsm.htm 

Powering & bass filter considerations are discussed at: http://www.sonicstudios.com/pa_x.htm 

General Ordering information is at: http://www.sonicstudios.com/ordering.htm 

http://www.sonicstudios.com/liteguy.htm HRTF baffle 

Regards in Sound & Music Recording, 


============================ 

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 

stuff... 

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: http://www.sonicstudios.com/dsm.htm 

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: http://www.sonicstudios.com/ordering.htm 

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



---------------------------------------- 

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 

thoughts? 

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 

(www.sounddogs.com) 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 instock 

& readily available). 



---------------------------------------- 

Subj: Re: DSM 6 Mics 

Date: 2/5/99 

To: bill.mitchell@sabre.com 

Hello Bill, 

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



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 

difference? 

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: http://www.sonicstudios.com/dsm.htm 

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: 

http://tinpan.fortunecity.com/jazz/ 

>> 

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. 

--Leonard 

=========================

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: http://www.sonicstudios.com/ordering.htm 

See the D100 powering tips at the bottom of : http://www.sonicstudios.com/batsys98.htm This can help you get the most out of the 

D100's unique powering features and limitations. 



---------------------------------------- 

Subject: Portable DAT Recorder Recommendation? 

Date: Sun, 7 Feb 1999 15:24:06 -0700 (MST) 

Hello, 

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. 

Thanks, 

Gerry 

>>

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. 

http://www.sonicstudios.com/dsm.htm 

http://www.sonicstudios.com/access.htm 

http://www.sonicstudios.com/liteguy.htm 



---------------------------------------- 

> 

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: http://www.sonicstudios.com/pa_x.htm 

======================\ 

> 

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. 

ABOUT THE DSM 

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. http://www.sonicstudios.com/dsm.htm 

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: http://www.sonicstudios.com/pa_x.htm 

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: http://www.sonicstudios.com/ordering.htm 



---------------------------------------- 

Reply-to: neo.rr.com 


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 

outdoors. 

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, 

Brian 

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. 



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. 



====================== 

mics onto a pair of walkman style headphones so the wires running down my neck don't look weird? 

and 

4) How can I purchase these from you? 

Thanks! 

Paul (@aol.com) 

>> 

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. 






---------------------------------------- 

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

Send JIPMO in US dollars and payable to: 



Sutherlin, Oregon 97479 USA 

ALTERNATE PAYMENT BY BANK TRANSFER METHOD: 

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, 

Kazuya. 

>> 

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: 



Sutherlin, Oregon 97479 USA 

Mic models suited to your music or sound recording tastes are listed at: http://www.sonicstudios.com/dsm.htm





---------------------------------------- 

> 

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: 


Informative Reviews: http://www.sonicstudios.com/reviews.htm 

PCM-M1 deck review: http://www.sonicstudios.com/d100rev.htm 

LiteGUY baffle review and info: http://www.sonicstudios.com/liteguy.htm 

MiniDisc recorder info: Sharp MD-MS722 


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



---------------------------------------- 

> 

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. 



---------------------------------------- 

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. 

Thanks, 

David 

>> 

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. 



---------------------------------------- 

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: 

http://www.sonicstudios.com/mp3.htm (see St. James Cathedral, Seattle recording) 

http://www.sonicstudios.com/liteguy.htm 

http://www.sonicstudios.com/reviews.htm 



E-mail me with questions and about your current recording deck/preamplifier equipment for best system fit suggestions. 



---------------------------------------- 

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: 

http://www.sonicstudios.com/d100rev.htm and external DAT battery systems at: http://www.sonicstudios.com/batsys98.htm 

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. 






---------------------------------------- 

(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. 

Sincerely, 

Henry Chin 

>> 

================================= 

ass 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. 

Gary 

>> 

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. 




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. 



=============================== 

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 

CCIR-weighted? 

(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? 

Thanks! 

Sincerely, 

Henry 

>> 

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. 



============================== 

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. 

reid 

>> 

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. 



---------------------------------------- 

Hi, 

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. 

Susumu 

>> 

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: http://www.sonicstudios.com/ordering.htm 

To order send intentional postal money order in US Dollars payable to Sonic Studios 



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. 


Leonard (& Debbie) Lombardo

---------------------------------------- 

Please let me know of further questions or concerns. 



---------------------------------------- 

> 

========================== 

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. 


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, 

Yuki 

>> 

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 

---------------------------------------- 

From: (Randall ) 

To: GuySonic@aol.com 

Leonard, 

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

DSM-6/EL. 

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? 

Thanks, 

Randy 

>> 

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.



---------------------------------------- 

> 

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. 




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. 



---------------------------------------- 

produce and purchase. 



========================== 

> 

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. 






----------------------------------------

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 ( http://www.sonicstudios.com/pa_x.htm ) 

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 UNrefurbished 

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. 



---------------------------------------- 

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? 

Thanks, 

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?? 



---------------------------------------- 

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. 

http://www.sonicstudios.com/ordering.htm 



---------------------------------------- 

>

Subj: Sonic 


From: (, Mike) 

To: GuySonic@aol.com 

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. 

Mike 

>> 

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. 



---------------------------------------- 

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. 



---------------------------------------- 

Hello Vicky, 

> 

>Thank you for considering the purchase of a nature sounds DSM-1/H mic 

>system. 

> 

> 

>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 

>natural/nature 

>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, 

Vicky 

______________________________________________________ 

Get Your Private, Free Email at http://www.hotmail.com 

>> 

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. 



---------------------------------------- 

your mics...to 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. 

Sincerely, 

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. 



============================== 

Subj: Re: Stereo Microphones for DAT 

Date: 1/14/01 

In a message dated 1/14/01 10:23:30 AM Pacific Standard Time, el@home.com writes: 

Thanks for your help. 

David R 

dt@home.com 

>> 

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: 

http://www.sonicstudios.com/pa_x.htm 

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. 



---------------------------------------- 

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 

http://www.sonicstudios.com/pa_x.htm 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 http://www.sonicstudios.com/dsm.htm . 

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. 



---------------------------------------- 

Subj: Re: Stereo Microphones for DAT 

Date: 1/17/01 In a message dated 1/17/01 6:59:26 PM Pacific Standard Time, dtl@home.com writes: 

> 

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: 




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

See USA Prepaid Order FedEX options at: http://www.sonicstudios.com/ordering.htm 



---------------------------------------- 

See the adapter table on this page at: http://www.sonicstudios.com/access.htm 

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: 

http://www.sonicstudios.com/videomic.htm#faq 



---------------------------------------- 

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/manmade 

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: http://www.sonicstudios.com/dsm.htm 

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: http://www.sonicstudios.com/d100rev.htm 

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: http://www.sonicstudios.com/batsys98.htm 

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: http://www.sonicstudios.com/pa_x.htm 



---------------------------------------- 

What's on Sonic Studios Web Site (HINT: Click Photos/Underlined Text) 

DAT, MiniDISC, VideoCamcorder Surround Stereo Microphones & Reviews 

HOME PAGE

LAPEL 

MIC 

Stereo Mics for MiniDISC, DAT, 

Camcorder, Studio Session 

HRTF Baffle 

For 

Recording 3- 

D Surround 

Stereo with 

Conventional 

Top/Bottom 

5/8" threaded 

Mounting 

Mic Stand, 

Fishpole, 

Studio Boom, 

and Semi- 

Permanent 

Ceiling Fixtures 

Mic Powering & Bass Cut 

Filters 

HRTF Session 

Sample MP3 

CLIP 

STOPS Wind 

Blast Noise 

for Interview, 

Narration, 

Lecture 

Recording Accessory & A/V Gear Maintenance Page 

MIC Reviews 

Page 

Video 

Camcorder 

Surround-Sound 

Stereo Microphones 

Systems 

Attenuation & Patch Cables for DAT & 

Camcorder Analog Inputs / Outputs 

ProGold G100 & DeoxIT D5 

Connection Enhancement, Cleaning 

Kits

ADVANCED BATTERY 

POWERED PORTABLE DSM 

MIC PREAMPLIFIER 

Mini-Stereo to Standard 

Dual Mono & Mono Mic 

XLR-Phono Adapters 

DAT Cleaning Cassettes 

Portable DAT & MiniDISC Decks, Equipment Reviews, and Long Runtime DAT Battery Systems 

Sony DAT Review 

TCD-D100 & PCM-M1 

BC-1C & BD-1C 25-60 Hour Battery For 

D100 & M1 DAT 

Sony MDR-F1, MDR- 

CD2000 

Headphones 

Review 

DAT BATTERY 

Power Systems 

PAGE 

MD-MT20 

Pro-style 

MiniDISC 

For Music, 

Ambient, EFX 

Sony TCD-D7/D8 

Mini-Review 

Opcode 

DATport USB 

Audio 

SoundCard 

REVIEW PAGE 

Sharp MD-MS722 MiniDISC 

Deck Specifications Page 

Recording Tips, Tapers Tips, DAT & MiniDISC Users Tips, MultiTrack Tips

Avoiding Input Distortion 

DAT Deck 

Tips 

User Battery Tips Mini-Connector Tips Live Tapers Tips 

3-D Multi-Track Studio 

Method 

FAQ SECTION 

FAQ Contents Page 

Types of Mics 

vs. DSM FAQ 

DAT Deck Powering FAQ 

CORE HEB/DPA-4060 vs. DSM 

FAQ 

DSM User Feedback & 


Choosing the Correct DSM 

Model FAQ 

Choosing The 

Best Deck FAQ 

Recording Tips 



Customer Profile List 

+ WWW Links 

About Sonic Studios 

MAIL 

ORDERING 

MP3 EFX, Nature Ambient, Live & Session Music Clips 

Send E-Mail to: 

GuySonic@aol.com 

AVOID E-MAIL DELETION IN THESE 

PERILOUS TIMES: Please Include An 

Appropriate "Subject Heading" In All E-Mail 

Correspondence 

Call or Fax 

TEL: 541-459- 

8839 

FAX: 541-459- 

8842 

Call USA Free 

1-877-347-6642 

LINKS

CHOOSING A DSM Stereo Microphone Model FAQ ... - Sonic Studios

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