SOME OF THE MOST UNUSUAL AND BEAUTIFUL SOUNDS CAN BE FOUND IN FIELD RECORDINGS. IF ARTISTS LIKE BRIAN ENO, BJÖRK, RYUICHI SAKAMOTO AND STEVE REICH CAN USE THEM TO ENRICH THEIR WORK, WHY SHOULDN’T YOU?
IT'S ELEMENTAL Unless you’re trying to capture weather sounds, there are things you can do to minimize the impact of the elements on your recordings. A stiff wind can mask your audio with background roaring and loud pops if you’re not careful. Get yourself a deadcat- or blimp-style windshield. Rain, on the other hand, is the ultimate enemy of your microphone. The pros use spongey material called hogs hair to absorb wetness and sound.
NOISE CONTROL To reduce traffic or other urban noise, move closer to your sound source and try keeping the micro- phone near the ground – reflections can actually help cancel out back- ground sounds. The other option (which is sure to upset the purists) is to use noise cancelling software. Record a sample of the traffic noise and then use that as a reference for whichever noise cancelling plugin you’re using.
LEVELHEADED In the studio you can set your levels and forget it. That’s not the case out- side – you have to constantly listen to what you’re recording, adjusting as you go. So be sure to use quality headphones or in-ear monitors at all times.
MORE IS MORE Once you’ve found a good location and have all your levels set, wait and be patient. Field recordings are a like a symphony rather than a compact pop song. Try to capture at least 30 seconds at a time. When it comes to ambient sound, less isn’t more – more is more.
• Always use a mic stand when possible – you’ll be amazed at how much clearer your recordings are.
• Whatever you record with, set your level so that the loudest sounds fall between 0dB and -12db. In louder urban environments you can set it even low- er, at around -20db. (This will prevent your audio from peaking due to unexpected loud sounds like car horns.)
• Record in either WAV or AIFF that won’t compress your audio.
• The sample rate should be 44.1kHz. (Unless you’re using your recordings for a video project, in which case the standard is 48kHz.)
• Always record in stereo if that’s an option. It’ll give life and movement to your recordings.
PHONE VS RECORDER The benefits of field recording with a smartphone are obvious: it’s light, portable and you always have it with you. But sometimes having a stand- alone recorder is handy for mic versatility and longer sessions. Unfortunately, they don’t come cheap, and it’s another battery to worry about (and at some point, you will forget to charge it).
GET DYNAMIC Dynamic mics are great for loud sounds and tough conditions. If you’re out in the rain banging on an empty oil drum so you can sample it for your next industrial k-pop mash-up hit, this is what we’d recommend you use.
SHOOT FROM THE HIP Shotgun mics are really more like acoustic sniper rifles, because they can pick out sounds from a single direction at a distance. If you’re recording the sound of an animal and you can’t get in close, a shotgun mic is your solution.
INTENSER CONDENSER Condenser mics are great for quieter sounds. If you’re out capturing the sonic subtlety of nature, take one of these with you. Just don’t forget you have to have phantom power* to use a condenser, so make sure that your recording device has that option before you head off to immortalize the dawn chorus.
SOUND IS ALL AROUND Omnidirectional microphones gather sound from 360 degrees. If you want to capture the real sound of the environment, you might consider an omni mic.
*Learn more about phantom power in the MIC BASICS section.
