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As I wrote before, I am impressed by binaural recordings. I first heard a binaural recording in the early 1970s. Although my first recording attempts were in that time frame I wasn't bold enough to try to make binaural recordings then. Instead, my first binaural recordings were made in about 2000. Those were real head recordings using my ears and Knowles FG hearing aid capsules.

I've also collected commercial binaural recordings and I have about 100 of them. I particularly like many of the twenty-three CDs sold by Audiostax. Obviously I like binaural recordings.?

I could go on and expound on what it is about binaural that I find to be good but what it is that I would like to hear from any of you is why you like them.

For me, so far, two best sounding arrays are ORTF and binaural. They just sit "right" with me.?
Of course, I know nothing yet, I still learn to listen and hear, still learn how to make best use of equipment, its abilities and limitations. It only second year passing since I got the field recording bug.
But only these two, abovementioned, methods feel to create good composition of sounds. For me. Highly subjective and relative.
Binaural just resonates well with me.

I really like binaural and related near-coincident? degreetechniques for my hobby recordings, which are mostly soundscape or nature. I've been making them ever since getting a pro Walkman stereo cassette recorder some 30 years ago, and on through MiniDisc, and now to SD card recorders. My favourite binaural experiment was to record a walk, speaking geographic references as I go, then at a later date repeating that walk as I play the recording back on headphones. The realism is uncanny - is that really a lawnmower somewhere to the left or was it on the recording?

I record "binaural" or near-coincident:

• with omni electret mics built into old walkman headsets (stealthy!), and I either wear this, or put them on something stationary like a tree or pole
• little omnis in a home-made SASS clone on a stand
• cardioids in ORTF (I have one pair of "stick" pure condenser cardioid mics with decent wind protection)
• soon to try - an Olson wing (two pieces of 90 degree angle stock with a head-like spacing). .
• hoping to also try a DIY jecklin disc and other baffle ideas

I prefer these because they produce recordings that are reasonably mono-compatible but in stereo they have added "space" created by the physical separation between L & R mics (plus baffling where used). Great when played over headphones, but usually more than satisfactory over speakers as well. It seems like we all agree about this.

A limitation of a binaural recording intended for headphone playback is that the recording "head" is stationary and that's unnatural; we constantly have our head in motion when we listen. So for this reason I have not gotten deep into "pure" binauralism? (eg anatomically correct kunstkopf, silicon ears and auditory canals, etc); it doesn't seem worth the extra effort for what I do. Looks wierd in public, too.

Am 13.06.24 um 07:51 schrieb eric benjamin via groups.io:

I could go on and expound on what it is about binaural that I find to be
good but what it is that I would like to hear from any of you is why
_you_ like them.

My main argument for binaural is that I don't like the inside-the-head
localisation of conventional headphone playback. So much that I even
listen to ordinary stereo material through a Beyerdynamic Headzone Pro
XT, a HRTF processor for stereo and surround sound signals that
unfortunatety isn't made anymore.

And, as others here have mentioned, binaural recording gives a sense of
being there that no other recording technique can match, certainly not
with such simple technical means.

For my own recordings, mostly industrial soundscapes, I've used a
variety of devices:

- OKM ear mics in my own ears
- OKM ear mics in a DIY polystyrene head with silicon ears
- Ohrwurm "on ear" mics
- Sennheiser Ambeo smart headset
- Zoom H3-VR ambisonic recorder, signals later converted to binaural

You'll find a few of my recordings at the link given below. About half
of them are binaural. Just look at the descriptions.

Ralf

--
Ralf R. Radermacher - K?ln/Cologne, Germany
Blog :
Audio :
Fotos :

On Thu, Jun 13, 2024 at 02:51 PM, eric benjamin wrote:

why you like them

What I particularly like about binaural recordings is the spatiality and the fact that one can clearly hear from which direction the sound is coming from.?

I recorded some city sounds in Osaka last February using the vintage Victor HM-200 binaural headphone microphones I mentioned. My son was buying something to eat at a creperie when a Ferrari approached at a nearby intersection. I’ve uploaded a short sound snippet to the HM-200 folder.?

Heinz

Heinz - great catch! And nice feel of the space.

This recording is special in several ways - you managed to record not only a Ferrari but also passers by speaking in Polish.
In Japan.
Sure, there are Ferraris and Poles in Japan. But not that common, I highly suspect.

On Sat, Jun 15, 2024 at 04:22 PM, pmfalcman wrote:

not only a Ferrari but also passers by speaking in Polish.
In Japan.

There can actually be interesting coincidences in life. Ferrari are not very common. But because of the weak yen, Japan is very attractive to international tourists from all over the world since a while. I did a few more recordings, including one at a great pinball canter (highly recommended!) in Osaka. My son and I were thrilled, but the recording didn't sound as spacious as expected.?

I love binaural recordings because sometimes they sound so damn real.

Many thanks!