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Author Topic: Immersive Sounscapes microphones  (Read 252 times)

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Offline Salva

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Immersive Sounscapes microphones
« on: January 01, 2024, 03:50:43 AM »
Hi,
Is there anybody who knows something about Immersive Soundscapes microphones?
Here the website https://immersivesoundscapes.com/

The website is very poor of techical information.
Are the microphone pairs properly matched?
is the frequency response decently linear?

Are they anygood for misic recording?

thanks
SC

Offline beatkilla

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Re: Immersive Sounscapes microphones
« Reply #1 on: January 03, 2024, 03:18:59 PM »
Never heard of them......

I have some well known Sonic Studios DSM-1H series for sale,these were well regarded for nature type recordings.

If your looking to do that type of recording than i think the Sonics DSM would be a good choice.



Offline Gutbucket

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Re: Immersive Sounscapes microphones
« Reply #2 on: January 03, 2024, 06:16:05 PM »
Welcome to TS!

A lot depends on what kind of music you intend to record.

I've never seen those mics or that website but most mics of this type are similar.  Thoughts-
They look to be small omni mics primarily intended for ambiance and nature recording. They'll probably work well for recording acoustic music as well as amplified music that isn't overly loud.  The max SPL (sound pressure level) is spec'd at 110dB, but they will most likely distort prior to reaching that point (if recording amplified music, that usually occurs first with loud subwoofer bass).  When powered directly by the recorder, the minijack PIP versions are likely to have a lower max SPL than what is published and will begin to distort at lower SPLs.  Powering them via a 9-10V battery box or preamp rather than plugging directly into the recorder avoids that.  The XLR versions avoid that issue.

They are omnidirectional - making them sensitive to sound arriving from all directions, so the direction in which you orient them won't matter that much, and they will not exclude any sounds arriving from directions other than the front. If you want something to sound clear, close and intimate, you'll want to get them relatively close to the source (just not so close that its too loud and they distort). You'll also want to place them relatively close to the source when recording indoors, as too far away indoors will tend to sound distant and reverberant. They can do a good job recording distant sources outdoors as long as no nearby sounds dominate the distant source (Good recording position relative to the source is generally the most important thing regardless of what you are recording and regardless of the pickup pattern of the microphones you are using).

Advantages of omnidirectional microphones over directional types are that they tend to sound very natural, inexpensive ones generally sound better than inexpensive directional microphones, they generally have a relatively flat response, are less susceptible to wind noise and less prone to handling noise, and tend to be more weather resistant.

Rather than being determined by which way they are pointed, the stereophonic effect is going to be dependent on how far the two microphones are spaced apart from each other, and/or if anything that blocks the direct passage of sound is placed between them.  In most cases, placing something between them good idea whenever you can't space them sufficiently far apart.  That could be most anything, including your own head, a piece of cardboard or pretty much anything that blocks sound.

The mics beatkilla mentions are similar small omnis, similarly produced by one person who has since passed on, which may or may not have a higher max SPL.  The fellow making them offered several different versions with different sensitivities and max SPL limits.  They are a binaural type with a small integrated wind-screen that are specially shaped as they are intended to be worn on eyeglasses near the ears to make pseudo-binaural recordings, but can also be used in other situations as standard omnis.
« Last Edit: January 04, 2024, 10:10:19 AM by Gutbucket »
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