As as result, binaural recordings I made twenty years ago still sound every bit as good as recordings I am making today. Note: Since the early 1990s I have been using high-quality digital recorders in conjunction with modified SASS microphones. Go here for more information about Sound Devices recorders. ![]() I generally record at 24-bit with a sampling rate of 48kHz or 96kHz. ![]() Recorder: For over ten years, I have recorded soundscapes using Sound Devices recorders, especially models 702 and 722. While true binaural head-type mics theoretically yield more realistic 3D recordings, I did not hear a significant difference. In this recording we start with some deeply relaxing hypnosis techniques. Our conclusion was that our modified SASS (with Sennheiser MKH20 mics installed) produced a pleasing binaural effect that clearly rivaled Fritz, but with the advantage of lighter weight, better wind resistance, and much better performance under inclement field conditions. They are divided into 4 categories: Deep relaxation Binaural beats Hypnosis Unguided. Note that early-on I compared recordings made with my SASS setup to recordings made using “Fritz,” the famous manakin-head mic made by Neumann. Go here for an informative article by recordist Vicki Powys that describes modified SASS setups as well as various homemade alternatives. Recently, Crown Audio has been absorbed by Audio Technica and I’m not sure if the SASS setup is still be available. Originally sold by Crown Audio, our SASS setups have been specially-modified to utilize super low-noise microphones. Families of stereophonic Mono compatibility recording techniques (cf., Schoeps. ![]() My favorite “quasi-binaural” microphone design (pictured above) is referred to as a SASS, meaning “Stereo Ambient Sampling System.” The advantage of this system over other binaural-style mics is that it not only works well with headphone listening, but also produces excellent results with conventional speaker setups. 3.2 Stereophonic recording techniques Coincident Mixed Spaced Binaural. Go here for a technical discussion of binaural recording and listening. Even when played using a conventional stereo speaker setup, the spatial sound cues are strong enough to create the sense that many animal sounds are coming from locations outside the speaker array. When listened-to using headphones, my recordings produce a fully-dimensional experience, with sounds appearing to come from “all around,” just like in nature. One disadvantage is that a sound source in the center of the stereo. ORTF can create a beautifully wide stereo image and still deliver some mono information. Microphone: The majority of my recordings have been made using a binaural-like microphone setup that yields rich and spacious 3D soundscapes that are natural and full of depth. This technique creates its stereo effect based on timing differences as sound reaches each microphone and volume differences from sounds being on and off-axis to each microphone capsule.
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