Hi Rob,
Ive used them in binaural rigs, spaced log spirals (similar to=
a rectangular boundary), various dipole configurations either multiple or =
single capsules - and with various sensitivities ranging from over 100mV/PA=
down to around 30 mV/PA, with the Sony D50 they are around 50mV/PA. The mi=
cs I make to order based on the customers requirements and they have been q=
uiet varied so far. - building since August 2009.
Latest incarnation is a waterproof varient, still in testing - submersed in=
a glass of water for 27 minutes removed and it carried on working just fin=
e. Praying for rain here so I can leave out a stereo set out all night to =
get rained on in real conditions.
..
Hector Centeno has made very good use of my mics, heres a few examples of w=
hats possible using them with a battery box + Fostex FR2-LE
http://sonic.hcenteno.net/sound-map/
Look for "custom binaural PIPMICS Mics MM1"
Specifically, Rail crossing bell, Construction site in montreal, Kids runn=
ing inside the Wychwood Barns is a good example.
Other notable users: http://pipmics.com/store/Feedback.html
---
Heres a short side by side example all using the same mic. (except the inte=
rnal where noted)
http://www.urlme.net/blog/?p=3D1297
Pseudo binaural:-
http://www.urlme.net/blog/?p=3D1307
The dipole mic in the example is using two matched capsules placed side by =
side, the stereo image is formed by quite complex digital matrixing and shu=
ffling. (omni - omni =3D figure 8, omni+omni =3D big omni :) - mid/side adj=
usted and seasoned to taste)
http://www.urlme.net/blog/?p=3D1277
Im currently waiting for the May 1st Holiday, traffic drops rapidly (alcoho=
l consumption spikes) I'd rather head out to the local nature reserve :)
I can setup a pair of NT1A's or NT2A's to be fair (7dBA) as Omnis and make =
a side by side with the native mic / no boundary.
Shockmounts / moulding in elastic urethane is an option depends on what you=
r after and how they will be used.
"but around
> the same price as 2 -AT4022's."
Interesting.
I'll think about the side by side demo and post a new blog entry with the r=
esults in a few days.
-Mike.
--- In Rob Danielson <> wrote:
>
> I was surprised there wasn't more difference
> between the mics and the arrays. I don't have a
> sense of what the space sounded like, so its
> challenging for me to reach a solid opinion from
> the comparison. Lots of lower mid-range
> saturation in the test condition which is
> demanding on the rigs. Maybe too demanding?
> Lately, I've been doing comparisons in 2-3
> setting to see if patterns emerge. The amount of
> similarity in this comparison seems to beg for
> this.
>
> Mike, I see you have some custom clip-ons that
> you can make-up for folks
> http://pipmics.com/store/PIPMICS_Store.html
>
> How about a shoot out of clip ons, in free air
> and in the stereo array of your choice?
>
> My main hesitation is the cost for small electret
> mics. I'm guessing the Telingas are in 15-16dB(A)
> self-noise range. Good sensitivity. Low noise
> enough that I think the input noise of the LS-10
> cripple's the Telingas slightly in Mike's test.
> That is 5-6dB(A) better than WL183's but around
> the same price as 2 -AT4022's.
>
> I realize that the clip-ons have much
> sought-after portability. If they came with
> something new like a unique stereo array I could
> set-up, the price would be more attractive to me.
> I have a portable rig with small 14 dB(A)
> self-noise mics into a Zoom H2 (via external
> pre), but recording with shock mounts, good wind
> protection etc and 7-10 dB(A) mics is in a
> different league. I've been mixing field
> recordings and the self-noise differences are
> quite audible with natural space daytime ambience
> when they're placed in the same program. Rob D.
>
> =3D =3D =3D
>
>
> At 11:56 AM +0000 4/28/10, Mike Rooke wrote:
> > I liked the SASS rig the most. The teliga omnis
> >performance is really very good considering the
> >size 10mm, this may take some getting used to,
> >its like having a pair of large diaphragm
> >condensers in your pocket. Quite a disruptive
> >product if you think of the low noise,
> >sensitivity and cost, no need for xlr/phantom
> >power, pocket recorder 3.5mm plug and go... I
> >hope they are waterproof?
> >
> >-Mike.
> >pipmics.com
> >
> >--- In
> ><naturerecordists%40yahoogroups.com>=
com,
> >"Mike" <walunit@> wrote:
> >>
> >>
> >> Hello all,
> >>
> >> Please pardon for the long post.
> >>
> >> Two weekends ago I attended the naturesound recording workshop in
> >> Seattle. We took the opportunity to try the new Telinga Clip-Ons with=
a
> >> few different recorders and also to do an interesting simultaneous
> >> recording with three different rigs including the new Telingas+LS-10.=
A
> >> number of folks jumped in to help with gear and execution of the test=
s.
> >> It was a great workshop this year with a wonderful bunch of enthusias=
tic
> >> participants.
> >>
> >> Experimenting with a few different PIP recorders and the Telinga Clip=
-On
> >> mics:
> >>
> >> The Telingas were strapped to a tree at about 5' off the ground.
> >> They were not moved between these takes. We recorded a reference soun=
d
> >> using Martyn's iPhone. I then used those reference recordings to
> >> normalize the recordings as well as I could. That worked fairly well
> >> given the lack of precision we were dealing with. Several lessons
> >> learned should I attempt this sort of test again in the future.
> >>
> >> These recordings were all done at 44.1 kHz/24-bit. We had the Olympus
> >> LS10 and LS11 and a Sony PCM-D50 on hand. They are encoded to 192 kbp=
s
> >> MP3 using Sound Forge 8. PIP was provided by the recorders. We had aw=
ful
> >> jet and prop plane noise the entire time. In particular, the LS11
> >> recording has a lot of jet rumble throughout most of the sample. No
> >> filtering (other than the intrinsic response of the mics/recorders) w=
as
> >> applied whatsoever for this comparison. The recordings are cropped to
> >> remove some fidgeting but contain some noise from us rustling around.
> >>
> >> I also made a recording with the Telingas powered by a DIY PIP circui=
t
> >> (which may not be providing enough current) and have included that as
> >> well. There is no reference level for that recording but I attempted =
to
> > > get the gain close to match the other recordings.
> >>
> >> Here is the Olympus LS10:
> >>
> >><http://mikewallmusic.com/MKHandTelingaOmnis/LS100129_edit_LS10_comp1_g=
ai>http://mikewallmusic.com/MKHandTelingaOmnis/LS100129_edit_LS10_comp1_gai=
\
> >> nmatched.mp3
> >>
> >><<http://mikewallmusic.com/MKHandTelingaOmnis/LS100129_edit_LS10_comp1_=
ga>http://mikewallmusic.com/MKHandTelingaOmnis/LS100129_edit_LS10_comp1_ga\
> >> inmatched.mp3>
> >>
> >> Olympus LS11:
> >>
> >><http://mikewallmusic.com/MKHandTelingaOmnis/LS110052_edit_LS11_comp1_g=
ai>http://mikewallmusic.com/MKHandTelingaOmnis/LS110052_edit_LS11_comp1_gai=
\
> >> nmatched.mp3
> >>
> >><<http://mikewallmusic.com/MKHandTelingaOmnis/LS110052_edit_LS11_comp1_=
ga>http://mikewallmusic.com/MKHandTelingaOmnis/LS110052_edit_LS11_comp1_ga\
> >> inmatched.mp3>
> >>
> >> Sony PCM-D50:
> >>
> >><http://mikewallmusic.com/MKHandTelingaOmnis/100411_02_edit_D50_comp1_g=
ai>http://mikewallmusic.com/MKHandTelingaOmnis/100411_02_edit_D50_comp1_gai=
\
> >> nmatched.mp3
> >>
> >><<http://mikewallmusic.com/MKHandTelingaOmnis/100411_02_edit_D50_comp1_=
ga>http://mikewallmusic.com/MKHandTelingaOmnis/100411_02_edit_D50_comp1_ga\
> >> inmatched.mp3>
> >>
> >> We did a second recording with the D50 as well. I think the gain was
> >> unchanged:
> >>
> >><http://mikewallmusic.com/MKHandTelingaOmnis/100411_04_edit_D50_comp2_g=
ai>http://mikewallmusic.com/MKHandTelingaOmnis/100411_04_edit_D50_comp2_gai=
\
> >> nmatched.mp3
> >>
> >><<http://mikewallmusic.com/MKHandTelingaOmnis/100411_04_edit_D50_comp2_=
ga>http://mikewallmusic.com/MKHandTelingaOmnis/100411_04_edit_D50_comp2_ga\
> >> inmatched.mp3>
> >>
> >> Finally, here is a quick recording with the Telingas powered by a
> >> battery box and connected to an SD 722 (again =96 this was not made a=
t
> >> the same reference level but I attempted to get things in the ballpar=
k):
> >>
> >>
> >><http://mikewallmusic.com/MKHandTelingaOmnis/T217_edit+20dB.mp3>http://=
mikewallmusic.com/MKHandTelingaOmnis/T217_edit+20dB.mp3
> >>
> >><<http://mikewallmusic.com/MKHandTelingaOmnis/T217_edit+20dB.mp3>http:/=
/mikewallmusic.com/MKHandTelingaOmnis/T217_edit+20dB.mp3>
> >>
> >> Observations:
> >>
> >> LS10: Despite my attempts at gain matching I think that the gain is
> >> higher relative to the LS11 and D50 recordings so it is tough to make=
a
> >> fair comparison. Significant audible "hiss."
> >>
> >> LS11: Some audible "hiss."
> >>
> >> Sony PCM-D50: Both clips sound really good to me. Still some audible
> >> "hiss" but more quiet than the LS11.
> >>
> >> SD 722 with DIY PIP circuit: Sounds quite different to me. I'm
> >> hearing quite deep into the soundscape. The hiss is much lower but it=
is
> >> really important to remember that this recording is not normalized li=
ke
> >> the other. I made my best attempt to get the overall gain close to th=
e
> >> other recordings.
> >>
> >> Simultaneous recording with 3 different rigs:
> >>
> >> We recorded simultaneously on three rigs at Cougar Mountain. I have
> >> attempted to level match these clips by ear. These recordings were al=
l
> >> done at 44.1 kHz/24-bit. They are encoded to 192 kbps MP3 using Sound
> >> Forge 8. The files are long. No filtering (other than the intrinsic
> >> response of the mics/recorders) was applied whatsoever for this
> >> comparison.
> >>
> >> SASS mic w/MKH20's -> SD 722:
> >>
> >><http://mikewallmusic.com/MKHandTelingaOmnis/SASS_edit1.mp3>http://mike=
wallmusic.com/MKHandTelingaOmnis/SASS_edit1.mp3
> >>
> >><<http://mikewallmusic.com/MKHandTelingaOmnis/SASS_edit1.mp3>http://mik=
ewallmusic.com/MKHandTelingaOmnis/SASS_edit1.mp3>
> >>
> >> M-S mic w/MKH 30/40 -> SD 722:
> >>
> >><http://mikewallmusic.com/MKHandTelingaOmnis/MKH_M-S_edit1.mp3>http://m=
ikewallmusic.com/MKHandTelingaOmnis/MKH_M-S_edit1.mp3
> >>
> >><<http://mikewallmusic.com/MKHandTelingaOmnis/MKH_M-S_edit1.mp3>http://=
mikewallmusic.com/MKHandTelingaOmnis/MKH_M-S_edit1.mp3>
> >>
> >> Telinga Clip-Ons attached to a tree about 5' off the ground ->
> >> Olympus LS 10:
> >>
> >><http://mikewallmusic.com/MKHandTelingaOmnis/Telinga+LS10_edit1.mp3>htt=
p://mikewallmusic.com/MKHandTelingaOmnis/Telinga+LS10_edit1.mp3
> >>
> >><<http://mikewallmusic.com/MKHandTelingaOmnis/Telinga+LS10_edit1.mp3>ht=
tp://mikewallmusic.com/MKHandTelingaOmnis/Telinga+LS10_edit1.mp3>
> >>
> >> Rob Danielson was kind enough to create the following blind test usin=
g
> >> excerpts from these simultaneous recordings. I find it fascinating:
> > >
> >>
> >><http://tinyurl.com/y4zhvyn>http://tinyurl.com/y4zhvyn
> >><<http://tinyurl.com/y4zhvyn>http://tinyurl.com/y4zhvyn>
> >>download (19mb
> >> QuickTime movie)
> >>
> >> I should mention that I am not an expert on PIP issues and powering
> >> these types of mics. There is some question about the appropriateness=
of
> >> my DIY circuit the PIP capability of the Sony PCM-D50 with these mics
> >> (headroom may be limited, etc). For what it's worth the mics sound
> >> great to me in both of those cases (really all of the cases above) an=
d
> >> given the recording environment.
> >>
> >> I apologize in advance for slow and intermittent replies! I'm in
> >> school right now and am heads-down.
> >>
> >> Thanks,
> >>
> >> Mike
> >>
> >>
> >>
> >>
> >>
> >>
> >
> >
>
>
> --
>
>
>
|