Field Recording

Sound vs. Picture (RJFS Field Test) On Booms. I’m a boom pole convert.

When I started making audiodocs, I thought boom poles (and lavs) were “weenie” solutions for producers who were too shy about getting close to their subjects. Unlike recording sound for film, we don’t usually have to mind the camera’s view. We can get right in there with our hands and microphones. But after enough occasions where I wished for longer arms and faster feet, I began to see the light. But what kind of boom pole (or fishpole*) should I get? 1. 2. 3. 4. 5. 6. Avoid super-skinny poles. 8. 9. 10. Dearly love those who bring you all kinds of useful goodness. Help Transom get new work and voices to public radio by donating now. Field Recording: Capturing The Sound Of The UK. The fol­low­ing is a guest blog post from sound de­sign­ers An­drew Kirk and Richard Simp­son.

Here, they take you be­hind the scenes on the mak­ing of their lat­est sound ef­fect li­brary: At RSAudio this year we have been spend­ing a lot of time mak­ing a se­ries of sur­round (5.0) sound record­ings across the UK. The first of these have been com­piled into one big pack of 100 am­bi­ences, aptly named ‘UK Am­bi­ences Pack One’. Fol­low­ing on from our re­cent re­lease, A Sound Ef­fect kindly in­vited us to write this guest blog to share our ex­pe­ri­ence cre­at­ing the pack and pass on any tips and good ideas we picked up along the way.

So here it goes! Prepa­ra­tion Though it may seem ob­vi­ous, per­haps the most im­por­tant fac­tor con­tribut­ing to the suc­cess of this pro­ject was the prepa­ra­tion. Thor­ough plan­ning and or­gan­i­sa­tion was ab­solutely es­sen­tial for us to max­imise what we were able to cap­ture in each record­ing ses­sion. The Record­ing Ses­sions Gear. As Chris Rock Said…Be POLITE. Photo by Carl Wycoff, used under Creative Commons License This article is about one of those universal inevitabilities that surrounds recording in the wild, dealing with the police.

Sooner or later, we all have our encounters with them. Before I go further, let me lay out the persepective with which you should read this. I am not a lawyer. This article should not be construed as legal advice. Let’s start out with the big one. Be Polite Police are just like the rest of the population. Should you be recording in an area where there are security guards, they’re who will decide if the police are called. Since we’re talking about interacting with other people… Don’t Give Your ID to Anyone Other Than an Officer With a Badge People can ask for proof of who you are. Don’t Try to Evade the Police If you know the police have been called, or you see them walking towards you, just stay put. Papo & Yo's howls, grunts, steps and chirps are straight out of Panama. Using a Zoom H4n in Ghost Recon: Future Soldier.

Posted by Jack Menhorn on Thursday, November 1, 2012 · 17 Comments Hi, my name is Chris Groegler and I am a Senior Sound Designer at Ubisoft-Red Storm Entertainment.

Our latest project was Ghost Recon: Future Soldier where I was audio lead for Multiplayer. We have an audio team of five people and basically all of us have a Zoom H4n audio recorder. We have our Zooms with us all the time in case we are in a situation where we need to quickly record a sound and don’t have our Sound Devices 744 with us. Since the H4n is such a handy device to have around (it can fit in your pocket) I’ve always wanted to try and record the majority of environmental sounds with it and implement them into a shipping title. As our team was deciding what types of play spaces they were going to design, someone came up with a rooftops idea.

Since our art team was taking pictures and such, we knew right away we needed to separate from them to capture clean audio.