![]() Either way, some people will react to seeing normal recording gear like big windscreens, mixers, boom poles and headphones. It can also be about capturing sound where recording equipment isn’t welcome, but that quickly turns very grey-area in my opinion. It’s about capturing sounds and environments in an authentic way. What to do then? Why Stealth? And How?įirst, let’s get one thing straight: Stealth recording isn’t about spying on people. ![]() Also, setting up a strange decapitated head in a public location is not exactly stealthy. It sounds fantastic, but is absolutely out of my financial reach. The above is recorded with a Neumann KU100 dummy head costing about the same as a small car. You only need to listen to one recording to understand the attraction of this method the famous “Shaking Matchbox” – here’s an example: I have been too busy making binaural recordings. I also made a pair of spherical windscreens from 2mm brass rods and fake fur, but to be honest, I haven’t used them yet. So far, this has meant stuffing these mics in side pockets of backpacks, using home-made windscreens made from rain gutter netting and nylon stockings. I have previously used this capsule in various configurations of spaced-pair setups, with a focus on finding a good sounding and usable stealth-setup. My capsule of choice, the Primo EM 172 omnidirectional electret, is a rather low-noise affair – and supposedly also what is inside my recorder (Sony PCM M10). Being both a tinkerer and a cheapskate, I have been recording with home-made microphones for a good while now.
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