I use a variety of different binaural microphone setups for recording binaural soundscapes. Here are the ones that I have used and my experiences with each.
Last updated: 28-July-2026
Ultra-low noise Binaural “head”
This is by far my favorite binaural “head’ when I can record on a tripod and not use my own head. This “head” is very low noise with a high signal-to-noise ratio.
Specifications:
- Pickup Pattern: Omnidirectional
- Frequency Range: 20 Hz – 20,000 Hz +/-1dB
- Sensitivity: -24dB ±3dB @ 94dB SPL
- S/N Ratio (1kHz, 94 dB input, A-weighted): 80dB
- Self Noise: 14 dBA
- Maximum SPL at 12vdc: 120dB
- Dynamic Range: 106dB, 1 kHz at Max SPL
- Impedance: 2.2 kOhms
- Voltage range – 2vdc – 12vdc (48v on XLR version)
- Current draw: 500 µA
I’ve abandoned my binaural mini-ears for this binaural setup. I put this “head” on one tripod and then run the cable to my Tascam DR05XP recorder that sits on a separate tripod a distance (length of the cable) away. The recorder provides the power to these microphones, and with it being away from the microphones, I do not get the case pops and sounds of the recorder’s plastic housing in the recorded product.
I apply windscreens (WindTech MM-51 Mic-Muff Fitted Fur Windscreen) to the ears that deter pesky wind noise if it is windy at all outside. They fit right over the ears so they are easy to apply and use – plus they’re quite effective.
Post-processing requires very little work. I tend to de-hum if needed, some de-rumble if needed, and spectral de-noise very lightly (2-6 dB adaptive), and that’s usually it.
Master Series ultra-low noise, in-ear Binaural microphones
These, with the Mogami cables, are excellent for recording using my own head and these in my ears. They are low-noise and capture realistic audio that sounds like you are there when played back.
Specifications:
- Pickup Pattern: Omnidirectional
- Frequency Range: 20 Hz – 20,000 Hz +/-1dB
- Sensitivity: -32dB ±3dB @ 94dB SPL
- S/N Ratio (1kHz, 94 dB input, A-weighted): 75dB
- Self Noise: 19 dBA
- Maximum SPL at 12vdc: 120dB
- Dynamic Range: 100dB, 1 kHz at Max SPL
- Impedance: 2.2 kOhms
- Voltage range – 2vdc – 12vdc (48v on XLR version)
- Current draw: 500 µA
These are my only option if I am out and about and want to record some ambiance, whether it is quiet rural, nature, or urban and loud. They sit nicely in my ears although I am almost always fitting them in “wrong” according to the image above. Still, they record well with very little noise from inside my ear and exceptionally realistic world noise recordings are the output.
One of the nice things with wearing these in the ear is that they are inconspicuous (most people think they’re earbuds and think I’m listening to something and not recording). Also, they are directional, meaning I can turn my head and give a whole new sense of directionality in the final recording.
Post-processing requires little work. I tend to de-hum if needed, some de-rumble if needed, and spectral de-noise very lightly (3-6 dB adaptive), and that’s usually it.
Deluxe waterproof Binaural microphones with premium cables, windscreens and removable clips
These are waterproof so that is a clear advantage in that regard. They are higher in noise but still very usable and by using the clips I can put them on a sound bar to get a pseudo-binaural A-B type of stereo configuration.
Specifications:
- Pickup Pattern: Omnidirectional
- Frequency Range: 100 Hz – 20,000 Hz +/-1dB
- Sensitivity: -42dB ±3dB @ 94dB SPL
- S/N Ratio (1kHz, 94 dB input, A-weighted): 70dB
- Self Noise: 24 dB SPL
- Maximum SPL at 12vdc: 130dB
- Dynamic Range: 100dB, 1 kHz at Max SPL
- Impedance: 2.2 kOhms
- Voltage range – 2vdc – 12vdc (48v on XLR version)
- Current draw: 500 µA
- IP67 (IEC standard 529 edition 2.0 (1989))
These microphones have a much higher noise output and require more care in noise removal in post-processing, but I can put these outside of a window and let them get wet in a thunderstorm (which is loud).