Re: best binaural mics?

["Graham Evans"]

>  But putting it together with binaural ambience and a pair of studio
>  mono vocals processed into binaural should also be wonderfully
>  pleasant to listen to.
Allen and Walter
-thanks so much for the continued input.  I really appreciate it.  I am
loading down those tracks at the moment Allen.

I am sorry this is all theoretical rather than experimental at this
stage, but I need to really get the scenario though out ahead of
equipment purchase.  So thanks for the tip on wind protection Walter - I
had actually looked at the Rycote product and I will look at Dan Dugan's
setup too.  I am still not sure on whether I will diy the suspension and
wind-protection or buy ready-made.

Now the following is bearing in mind that I am very interested in
Walter's idea of the steadicam head - I can see why that might work well
in my situation although it will require me to have an assistant as I am
intending on doing the interviewing myself.  The steadicam head however
may be the ideal way for me to record the kangaroo hopping noise while I
have my friend lure the kangaroo along.  And yes I had thought of the
human footsteps issue in this recording.  I thought if maybe we were
barefoot on soft sand.  My friend's property where the human oriented
kangaroos live has lots of sandy tracks.

To the 'outdoor interview' scenario (simulated or otherwise):
As you have correctly understood I am interested in capturing 3 sound
sources (2 mono one stereo) processed into a single stereo track.

The setup that I had thought about was simultaneous capture on three
minidiscs:
1 binaural ambience, or possibly stereo ambience captured with some rode
mics such as nt1a's or an nt4.
2 and 3, capturing interviewer and interviewee each with there own MD
and a mono lavalier - in the same outdoor space as the ambience capture
is simultaneously occuring.

If I mix these three tracks there will be some sounds reaching more than
one track such as when the inverviewer and interviewee are standing
close to each other or perhaps close to the the ambience rig or when a
loud bird cry penetrates all three recording stations.

I can think of two post-processing strategies:
A sync them really precisely (but then will the cancelling out of sounds
recorded across sources mess it all up?)
B sync them a few milliseconds apart so any doubling up appears as a
type of quiet reverb .

- bearing in mind that each voice will be loud only on its own recording
station and the ambience will be loud only on the ambient station.

Allen and Walter I realise why you're naturally thinking to record the
voices in a studio and thereby have three pure sound sources to mix.
That would be the precision engineers way an ensure a reliable result.
But do you think it will be possible to be a bit more of a chaos
magician and make the outdoor/simultaneous recording setup work?  That
has a type of purity too - although not of sound sources.

what do you think?

Graham