Guest Contribution by Stephan Schütze
Why I am not going to tell you which microphone to use
The simple answer to this statement is, because we don’t have time. The exact choice of which microphone to use for each situation of recording a vehicle is a detailed exercise and would take more pages than we have space for. Even then, there is a major flaw associated with the idea. What I hear and what sounds good to my ears may not work for you. Suggesting Brand X or a Model 2B, stuffed up the exhaust pipe of your Honda, may only serve to encourage you to spend more money than you need to. As much as we all love to buy new equipment, I think there is value in stepping beyond the tools and toys. I’m going to be more general and share a more conceptual approach to capturing good vehicle sounds.
What I will do is take you through some of the essential lessons I’ve learned when recording vehicle sounds for Sound Librarian. In creating our sound libraries, I’ve recorded motorbikes, cars, tanks, boats, airplanes, pretty much every vehicle I could get my microphones near.
R. Murray Schafer at “listen” short film
“One can look at seeing but one can’t hear hearing” – Marcel Duchamp
As you may know, silence is the topic chosen for this month here at Designing Sound. One may think silence is not existent if we value it as an absolute sonic absence, but here I’m going to examine its role and possibility towards the act of listening to sound, silencing, not as that state of complete sonic deletion but as a force able of letting sound to be. Here’s not about asking “what is silence?” but just creating an invitation to be silent and just listen.
Guest Contribution by Ivo Ivanov
Take a moment to think about the magnitude of all the rejected material that disappears during your editing process. Material with unwanted artifacts, discarded without much further thought, as it is rendered useless due to a number of auditory issues or location-specific problems. Now imagine if those discarded bits of audio were actually what you were truly looking for. Welcome to my world: I search for the sounds in between sounds.
While on a recent field recording trip with a few local colleagues, the day’s conversations and varying points of interest illuminated intriguing differences in our technical goals. While we all had essentially the same equipment (the usual field recorders, mics and accessories) and we were recording many of the same subjects, our focus and subsequent approach turned out to be significantly different. This raised some interesting discussions about perspective and context, which got me thinking about how much time I actually spend trying to deconstruct things and harness the “broken”.
Gordon Hempton has a new article up on his Quiet Planet website talking about recording waves.
Find a beach exposed to the open ocean (high-energy) with a large tidal change (higher latitudes) at least several miles from the nearest frequently used road (wilderness) that slopes sharply, so at low tide you encounter diverse substrates (sand, gravel, cobblestones).
Head here to read the full article.
Andy Wooding has a new interview with one of our former Featured Sound Designers, Coll Anderson, up over on FilmDoctor.co.uk.
I don’t know if there’s a difference. They both involve a certain level of verisimilitude and so you can’t really say there’s a difference. People will say ‘documentaries are real and fictitious films are about telling stories’ but documentaries are really about telling stories and fictional films often want to feel super real. So there’s a huge cross over between them. When you insert a camera into a situation, that situation is no longer real. It changes. It changes the dynamic. There’s a square box capturing it. We go to great lengths to show ‘oh the truth of the square box’ but it’s not true.
Head here to read the full interview.