It is not a good business model to bash others ideas while lifting up your own. A good product will speak for itself. It is very handsome, but knowing about the very well about HRTF acoustics, it will NEVER record like you hear it live at the mic position. Will always sound different in every new situation it is placed. Give lots of problems for those looking for consistency in a stereo mic. Just another anomaly in stereo microphone design that will not record anything close to virtual reality, something that true HRTF baffled omni mics do consistently and effortlessly. However, it will turn peoples heads as it is really differrent looking and makes for great photos.
For sample recordings done with real HRTF baffled mics look to: www.sonicstudos.com/mp3.htm
This is not about bashing products, just acoustic knowledge of HRTF and 19+ years of working out the details on accurate HRTF baffle design. This is NOT 'rocket science.' It is about replicating 'water-based' flesh acoustic response. Something NOBODY seems to get (other than myself) when designing 'HRTF' baffles.
While not trying out these other baffles, I know what will work and what is not going to work by looking at the design from photos, and knowing what materials are being used.
Yes, it's sort of lonely knowing and designing for accurate acoustic microphone for stereo-surround mics, and with lots of critics that have difficulty grasping the reality of baffling omni's. Only your own ears and perception, and trying these (badly) conceived 'baffles' in different situations for consistency.
Only then can most people know for sure what works and what is good looking fluff.
So give my examples a good listen on stereo, surround speakers, and on headphones. The tell me how this compares to everything else out there used for mic baffling.
www.sonicstudios.com/mp3.htmThere really is no comparison in my experience to everything else being used for this purpose, but of course I am an inventor, acoustic/electronics engineer, designer, taper, and business owner, so what do I know that's not going to be labeled bashing and marketing hype?
Please, don't take my word for anything, just consider what I've said, and try to 'honestly' prove me right or wrong with some real experiences with these different approaches to stereo-surround mic/methods.
I've put hundreds of DSM HRTF baffled recordings for world-wide view up for free, look for these other mic makers to do the same with a multitude of different ambient recording situations. Even a Radio Shack mic can be made to sound awesome under very narrow special circumstances. So a few good sounding recordings means little about how good a mic design or use method is working.
ONLY by using a mic in many, many different real-world ambient situations for small to very large staged amplified and pure acoustic sources will show if there's any real consistency to a given mic and method of using that mic.