Man.....you've really taken this to the limits. I cant believe how many degrees of binaural there are. Im sorry if I ask so many questions, and maybe dont seem to be fully understanding. But to me, it was just plugging a Mic, or Mic's into the input of my machine, and recording. I did figure that some Mic's were better, or more sensitive than others, but never imagined it could be so complex. It really confuses the hell outta me. But I agree with what you've said a few posts back. When you said that after reading my incident, with my first walkman, with the Talk-Line that you figured Id like the binaural methods of recording. Do you happen to know of an Engineer named Kermit Gray?? He id one of the more knowledgeable members of Naktalk, over at Naks.com, relating to Nakamichi Gear.
I've really only expanded on a few techniques that have been around for a long time. In that, I proved to myself that things really are not so stringent and difficult as the white papers say it should be.
It really confuses the hell out of meDon't let it confuse you. I know its a tough call, but trust us on this - you won't be led astray.
Stereo recording essentially depends on two things: signal impulse amplitude and signal impulse arrival timing; amplitude/attenuation, and timing.
With omnidirectional mics (they're omnis, not binaurals) you have two orbs that pickup at a 360ยบ pattern.
You can essentially do two things to create stereo imaging with them:
1- You can space them apart, usually no less than 3' to get some signal attenuation between the mics. This also introduces timing difference cues.
The problem with the timing arrival cues is that they can offset with each mic, and create timing phasiness or smudging.
2- You can keep them closer together and place a baffle between them.
The baffle creates attenuation between mics that replicates the amplitude differences that you get by spacing the mics. This attenuation is as much as 6dB between mics. The baffle allows the mics to be drawn together in spacing, which eliminates the timing phase issues.
The baffle makes it more foolproof.
Kermit GrayI do not know him, but, this place is it for me pretty much. I frequent this forum and a turntablist forum, and thats pretty much it for my internet socializing.
Anyway, the other night, he sent me a personal email, and was telling me that I would really like Binaural Mic's for recording Nature/Ambient Sounds. He also stated that Dynamic Mic's were great for very Loud Sounds, like Thunder Clapping, and that sort of thing, plus he said that Dynamic Mic's were extremely rugged, and can withstand the elements, for recording outdoors, and getting wet, etc.... But he daid that Binaural Mic's were so realistic, it was eery, chilling to listen to with headphones. And I guess your variations of that are even more so. That looks wild, seeing that you recorded actual performances, etc.... You really understand the concept. So, from what you know of me, and what I have been saying that I like, and would like to achieve, what model Mic's would you suggest that I get?? I realize it may be hard to answer, but your best shot. Thanks, Ray
Binaural MicsBinaural is a technique and not a product. It is one that utilizes omni mics and a baffle. Companies that sell "Binaural" mics are selling an improperly named product as a gimmick.
You don't necessarily want to record in true binaural either. The playback via speakers isn't as good as other omni techniques, the quasi-binaural techniques.
So, its best to get away from discussing binaural, as its somewhat confusing; preferring instead, using the baffled omnis terminology.
Dynamic mics are good for loud sharp impulses - and yes, they can be used as hammers (in jest). But they're far from sensitive, and most have frequency response curves that compliment the human voice, and not so much for music. They can, and have been used successfully, but most of us have moved towards condensor mics.
He is correct that the baffled omni techniques are shockingly real.
Wet conditions:
Some mics handle this better than others. The mics that I've shown on the furry disc baffle, the small black ones, DPA 406x series, can be immersed and swizzled in a glass of distilled water for cleaning them out.
Generally speaking, you want to protect your gear in wet conditions.
You ask for my best shot in mics.
Well, I'm a DPA guy. But the costs of DPA will set you back on your heels. The miniature mics and power/preamp will be in excess of $1200 - this step kills the upgrade bug virus that is so contagious around here.
As I've suggested already - A Church Audio system would serve you very well, and, would keep you below the $500 mark, and possibly well below it (I have not priced his gear lately).
Topic: HELP NEWBIE with MIC (Read 15206 times)