|(Last updated 09/16/2013)
The Core Sound Sampler includes recordings made with our Core Sound
Binaural (CSB) Microphones (tm) , Core Sound Stealthy Cardioid
Microphones (tm), Core Sound High End Binaural (HEB) microphones,
PDAudio and Mic2496.
You can play a track by clicking-left on the selection number of
each track. You can download it by clicking-right on the selection number
of the track, and selecting "Save Link As...".
To obtain a CD copy, please send a blank CD-R to: Core Sound
405 Cedar Lane, Suite #1
Teaneck NJ 07666 USA
"The Phantom of the Opera" Andrew Lloyd Webber 3:43
St. Mark's Episcopal Church
Palo Alto, California
Sunday, October 31, 1993
James Welch, Organist
(Recording used by kind permission of the performer)
A Casio DA-R100 portable DAT recorder was fed directly from a
Core Sound Binaural microphone set used as spaced omnis. The
microphones were positioned across the center line of the room,
approximately at the crossing, one-third of the way back of the
church, three feet above the floor and two feet apart. The
microphones were mounted on common microphone stands (cast iron
bases) and pointed up toward the ceiling. The recorder was
positioned roughly 25 feet from the microphones and fed the
signal via a long cable. The Casio was powered via an AC
adapter which transmitted some AC line noise.
The room itself is very lively but has a short reverberation
period. The linoleum-covered wooden floor transmits a fair
amount of noise. The room can accommodate roughly 500 people
but is currently set up for 200.
The organ is a electro-pneumatic with about 60 ranks originally
built by Casavant, but has been reworked a number of times and
no longer bears the Casavant nameplate. The main divisions are
behind the high altar of the church, hidden by a sheer fabric
screen. The swell division is installed high on one side of the
chancel, and the gallery division is high on the back wall of
The imaging. Note the palpable footsteps as the performer
enters from the right and sits at his instrument. Later in the
performance listen as the the various divisions of pipes are
brought in. Near the end, listen to the haunting ghostly
melody in the very high registers.
Although this was recorded with a spaced-omni set up for
playback over speakers, the sound over headphones is still very
Zanzibar (a downtown nightclub)
October 21, 1993
"The Nuff Brothers" -- Top NYC studio musicians including:
Lou Marini tenor sax (leader)
Lawrence Feldman alto sax
Birch Johnson trombone
Alan Rubin trumpet
Robbie Condor keyboards
David Spinoza guitar
Tommy McDonald vocals
Stu Woods bass guitar
Richard Crooks drums
Len Moskowitz -- Core Sound
Recorded using a Core Sound Binaural microphone set and a Sony
TCD-D3 portable DAT recorder. The Core Sound microphones were
clipped to the temple pieces of the taper's eyeglasses and
positioned as close to his ears as possible, facing outwards.
The taper was seated roughly ten feet from the stage's front,
centered in the audience. The room is rectangular, roughly 35
feet wide and 100 feet deep, with a high ceiling. The stage
starts roughly ten feet from the left wall and extends to the
The band was arranged, from left to right as:
keyboards at far left, alto sax, tenor sax,
trombone, trumpet, vocalist
guitar (behind the keyboards and the sax),
The house PA system is a bit boomy and also thick in the
midrange. It was used almost exclusively for the vocalist and
biased strongly toward the left.
(Lou Marini, Alan Rubin and Birch Johnson are the horn section
from "The Blues Brothers". Lou recently toured nationally
backing James Taylor. The rest of the musicians are among the
top "first call" studio musicians in New York City.)
Recorded binaurally so listen on headphones. Note the realistic
location of the audience sounds and the preservation of the
night club's ambient soundfield. If you listen carefully, at
one point the taper turns his head far to the right and the
audio image shifts correspondingly to the left.
Playback over speakers gives a presentation similar to
recordings made with "Jecklin disk" arrangement.
"The Oompah Loompah Song" (from the movie "Willie Wonka and the
The quartet "Undiscovered Harmony" from Rice University
Tenor: Hugh Ho
Lead: Joel Riphagen
Baritone: Mark Engelberg
Bass: Brian Sadovsky
Another binaural recording. Listen on headphones.
Recorded using a Core Sound "battery box" set and a Denon
DTR-80P portable DAT recorder. The Denon's -20 dB attenuator
switch was on and the microphone pre-amp gain set to maximum.
The Core Sound microphones were clipped to the temple pieces of
the taper's headband and positioned as close to his/her ears as
possible, facing outwards. The singers, an acapella quartet,
were positioned around the taper as follows:
Left person Right
Tenor wearing Baritone
All singers stood an equal distance from the person wearing the
microphones; this distance was approximately 2.5 feet.
This recording has a glaring binaural technique error: it has
two of the performers directly on the front/rear axis. When
recording binaurally you'll capture the best psycho-acoustic
location cues if you keep the performers a few degrees off the
front/back axis. Within roughly plus/minus ten degrees from
directly forward and backward we can't discriminate direction
well, so we confuse whether a sound is coming from the front or
the back. Sometimes it sounds as if the location is above us.
Out in the world, when we face this situation, we nod our heads
from side to side a bit to disambiguate the direction. When
listening to a recording, obviously nodding doesn't work.
If you listen closely, you can hear the bass singer sway from
side to side. When he goes off the front/rear axis, his
location cues sharpens. The lead singer, at the front, is
difficult to locate through the whole recording.
Even with this flaw, the recording works pretty well. Great fun!
The Mercury Lounge, NYC
Vocals: Malford Milligan
Lead Guitar: David Grissom
Guitar: David Holt
Bass: Tommy Shannon
Drums: Chris Layton
This track was recorded with Core Sound Stealth Cardioid mics
and a Sony TCD-D3 DAT recorder. The mics were mounted on the
earpieces of the taper's glasses, facing forward. He was
standing roughly 20 feet from the center of the stage. The
recording is intended for playback over speakers.
The Mercury Lounge's performance room is square and roughly
fifty feet on a side. It was full of people. While the band's
equipment was impressively large (Marshall and Trace half
stacks), the sound system was much louder -- some direct sound
gets through but the sound system's mono mix dominates.
The sound level was literally deafening -- during the
performance you couldn't hear yourself yell. It was so loud
that you couldn't understand the vocals and the guitars merged
into a roar.
The recording though, is perfectly clear and sounds much better
than the original performance.
(Tommy Shannon and Chris Layton are "Double Trouble", Stevie
Ray Vaughan's rhythm section. David Grissom has toured with and
backed major performers, including John Mellencamp, The Allman
Brothers, Bob Dylan, John Mayall and The Dixie Chicks.)
The Knitting Factory (NYC)
Vic Chessnut and Lambchop
This track was recorded with a set of Core Sound High-End
Binaurals (DPA4061s) feeding a Zefiro Acoustics InBox. The HEBs
were fitted witht their short protective grids, resulting in a
slight (2 to 3 dB) emphasis centered around 15 kHz. The
microphones were mounted as close to the tapers ears as
possible. The InBox was connected to a Sony TCD-D8 via a
Sony POC-DA12 fiber optic cable.
Recording location was the first row of the balcony, three seats
from the soundboard, with a direct line-of-sight to the stage
and the sound system speakers.
The Knitting Factory is a relatively small room, perhaps thirty
feet wide by sixty deep, with a high (perhaps 30-foot) ceiling.
The stage starts at the left wall and doesn't quite make it
across the whole room. Vic Chessnut sat surrounded by Lambchop's
10 or 11 members on the cramped stage.
Sound quality was good overall except for the definition of the
bass guitar, which was rather muffled and slightly boomy.
The sound system had a grounding problem -- you can hear the hum
whenever the music gets quiet.
To hear what the HEBs can do, listen for when the background
vocalists sing "There goes my baby..." After many listens it
still provokes goosebumps.
Other than the slight emphasis in the highs due to the short
grids, the sound system hum and the room's bass wooliness, this
recording is as good as it gets.
"Take Me Back To Tulsa" Tommy Duncan & Bob Wills 3:13
Huntsville Traditional Music Association
February 8, 2003
Orrin Star, guitar and mandolin
Joe Stratton, mandolin
Recording used by kind permission of the performer
Orrin Star is an award-winning guitar, banjo and mandolin player
who is also funny. With music ranging from fiddle tunes to
topical ballads to western swing, and storytelling both sharp
and droll, he has been described as Arlo Guthrie-meets-Doc
Watson. He was the 1976 National Flatpicking Champion and has
appeared on A Prairie Home Companion.
On his 2002/2003 Winter tour of the US South, he brought along a
set of Core Sound Binaural microphones, an M-Audio DMP-2 dual
microphone pre-amp, a Tascam CD-RW-5000 CD recorder; he recorded
this live performance directly to CD. Accompanied by
mandolinist Joe Stratton, he clipped the two CSB mics to the two
vocal mic cables, very close to the vocal mic's XLR connectors
(at about neck level). He uploaded the track to his Macintosh
DAW, but apart from some panning and level adjustments, very
little was done to the audio (e.g., no EQ).
You can learn more about Orrin at his Web site
(http://www.flatpick.com/ostar) and reach him via email at
"Fanfare For The Common Man" (Copland) 3:21
A major NYC concert hall, 2004
A major American symphony orchestra
Recorded fourteen rows back from the stage, dead center, in one
of the US's finest mid-sized concert halls by one of the US's
premier symphony orchestras.
The dynamics on this recording are tremendous. The tympani
rolls at the conclusion are simply stupendous. The horns have
an incredibly natural timbre, and the hall itself sounds
Equipment: Core Sound's HEB 4060 mic set (using DPA 4060
capsules), Mic2496, PDAudio-CF, an HP h5155 iPAQ PDA, and
Gidluck Mastering's Live2496 software recording to a 2 GB
SanDisk Compact Flash memory card. The recording was made at
24-bit/44.1 KS/s; the version on the Sampler Disk was correctly
converted to 16/44.1.
(The location of the hall and identity of the performers can not
be divulged due to union and concert hall regulations.)
Mexicali Blues Cafe (Teaneck NJ USA)
November 11, 2003
Len Moskowitz (Core Sound)
Equipment: Core Sound's HEB 4060 mic set (using DPA 4060
capsules), Mic2496, PDAudio-CF, an HP h5155 iPAQ PDA, and Pocco
Software's Wichita software recording to a 2 GB SanDisk Compact
Flash memory card. The recording was made at 24-bit/96 KS/s;
the version on the Sampler Disk was correctly converted to
Edi Beo Thu Hevene Quene (14th century, Anonymous) 1:17
Reformed Chuch of Hastings (Hastings-on-Hudson NY USA)
December 11, 2005
Len Moskowitz (Core Sound)
Angelica is a group of ten women performing music ranging from
works by Palestrina, de Lassus and Monteverdi to Poulenc,
Brahms and Britten. They were accompanied by special guest
artist Virginia Kaycoff on the vielle (an early version of the
This selection is from their 2005 Christmas concert at the
Reformed Chuch of Hastings, in New York's Westchester County.
The Church's sanctuary seats roughly one hundred and is a
roughly square room with a high (approximately 40-foot)
ceiling. There is an organ loft at the rear of the room and
lots of niches and angles on the walls and the ceiling, so that
standing waves are well-disrupted. It has a reverb decay time
of roughly three seconds, and so while it is not as lively as a
cathedral, it's not excessively dry either.
Recorded with two DPA 4003 high voltage omnidirectional
microphones mounted on either side of a Schneider Disk. The
Schneider Disk was mounted on a sturdy stand and elevated to
roughly nine feet. The mics were powered by a DPA 130V power
supply. The mics fed a Core Sound Mic2496 dual microphone
pre-amp and A-to-D converter set to near minimum gain. The
Mic2496 fed two recorders simultaneously: a Core Sound PDAudio
system via its optical output and an Alesis Masterlink via its
The mics were positioned in the third row of pews, around twelve
to fifteen feet from the performers. The choir stood in a
semicircle, some on the floor, some on the first step and the
rest on the raised front platform. The vielle player sat in
front of them, slightly to the left of center.
Recorded with 24-bit word widths at 44.1 Kilosamples per second.
Note the natural sound quality and dynamics, the wonderful sense
of air and ambience, and the solid positioning of the vielle and
"Rolling Thunder Motorcycle Ride 2009" 2:05
Sunday -- May 24, 2009 (Memorial Day weekend)
Tens of thousands motorcycles
A set of High End Binaural (HEB) microphone set, using a matched
pair of DPA 4061s, fed a Sony PCM-D1 digital audio recorder.
The two DPA capsules were rigged on a backwards hat right at ear
level. Recorded at 24/96.
Wow -- listen to that thunder!