Difference between revisions of "Making an audio recording"
| Line 1: | Line 1: | ||
| − | + | * What to bring | |
** Redundancy | ** Redundancy | ||
| − | + | ** Extra tapes, mics, batteries | |
| − | + | ** Think: What is the situation you want to record? What kinds of mics will you use? Tape? Recorder? | |
| − | + | * Before you set out | |
| − | + | ** Check out your equipment | |
| − | + | ** Make sure you have all necessary devices. | |
| − | + | ** Make sure you have extra tapes and batteries. | |
| − | + | ** Set things up as much as possible: put cassette in, label it, unwrap a second one. | |
| − | + | * Setting up your equipment - practicalities | |
| − | + | ** Find a safe place, especially if scene is chaotic. | |
| − | + | ** Get in close to the sound you want – remember the inverse square rule. You can’t raise the levels without adding noise, amplifying ambient sound, and decreasing your “angle of view”. But stay far enough away from any one instrument (drums!) which may overwhelm the recording, and don’t get so close that you pick up microsounds of breathing, body movement, etc. | |
| − | + | ** Beware of wind (use a windscreen, or shelter the mic). | |
| − | + | ** Sometimes you can plug directly into a sound system (but be aware of tradeoffs, and bring necessary plugs). | |
| − | + | ** Sometimes you can give the singer your mic, or mount your mic on or near an instrument. | |
| − | + | ** Think about sound characteristics of the room: echoes. | |
| − | + | ** Think also about people who might accidentally trip over your mic and ruin everything. | |
| − | + | ** Consciously heck ambient sound, and make sure your recording won’t be overwhelmed which your brain filters out when you are in the situation. | |
| − | + | ** Decide: mount mics? Carry them? How conspicuous should you be? | |
| − | + | ** Stereo or not? (usually stereo is best) | |
| − | + | ** Consider redundant recording (DAT plus analog) | |
| − | + | ** Sometimes you will simply be dubbing informant’s recordings – have the equipment for this. | |
| − | + | * Checklist | |
| − | + | ** Is your mic on? | |
| − | + | ** Is everything connected? | |
| − | + | ** Test. | |
| − | + | * Monitoring | |
| − | + | ** Using headphones (not always practical) | |
| − | + | ** Make sure VU meter is moving and tape is moving. This generally assures that you are recording. | |
| − | + | ** Better not to move the mic around – this creates confusion later – but occasionally movement is warranted. | |
| − | + | ** Beware: (1) pause button; (2) end of tape. Keep a check on the time using your watch, or even bring a stopwatch. | |
| − | + | ** Adjusting levels. Levels should be as high as possible (improve s/n), without distorting, clipping, or causing print through. Try not to adjust levels during the session. Turn off automatic level control if possible. | |
| − | + | ** Maintain a broad field of awareness. You must continue to interact with people, and anticipate difficult situations. Don’t become over-immersed, even if it means sacrificing recording quality. The recording is rarely the ultimate goal, and you can often repeat the situation, so don’t let it ruin your field relationships. | |
| − | + | * Permissions | |
| − | + | * Documenting, filing, storing media | |
| − | + | ** Do this as soon as you get home, using whatever filing system you have adopted. | |
| − | + | ** Break the recording tabs. | |
| − | + | ** Best not to record on old tapes, nor should you bring partly recorded tapes to “top off” (risk losing work). | |
| − | + | ** Dub tapes as soon as possible and store off-site | |
| − | + | ** Treat this as part of your daily outfield work (along with writing up notes). | |
| − | + | ** Store tapes in dark, temperate (heat, humidity) place, away from dust, and secure. | |
| − | + | ** Consider locking your tapes up | |
| − | + | ** Best to set up a database of tapes from day one. | |
| − | + | * Don’t forget | |
| − | + | ** Turn off mic if powered, or you'll drain the battery | |
| − | + | ** Backup digital files | |
| − | + | ** | |
Revision as of 11:53, 4 March 2010
- What to bring
- Redundancy
- Extra tapes, mics, batteries
- Think: What is the situation you want to record? What kinds of mics will you use? Tape? Recorder?
- Before you set out
- Check out your equipment
- Make sure you have all necessary devices.
- Make sure you have extra tapes and batteries.
- Set things up as much as possible: put cassette in, label it, unwrap a second one.
- Setting up your equipment - practicalities
- Find a safe place, especially if scene is chaotic.
- Get in close to the sound you want – remember the inverse square rule. You can’t raise the levels without adding noise, amplifying ambient sound, and decreasing your “angle of view”. But stay far enough away from any one instrument (drums!) which may overwhelm the recording, and don’t get so close that you pick up microsounds of breathing, body movement, etc.
- Beware of wind (use a windscreen, or shelter the mic).
- Sometimes you can plug directly into a sound system (but be aware of tradeoffs, and bring necessary plugs).
- Sometimes you can give the singer your mic, or mount your mic on or near an instrument.
- Think about sound characteristics of the room: echoes.
- Think also about people who might accidentally trip over your mic and ruin everything.
- Consciously heck ambient sound, and make sure your recording won’t be overwhelmed which your brain filters out when you are in the situation.
- Decide: mount mics? Carry them? How conspicuous should you be?
- Stereo or not? (usually stereo is best)
- Consider redundant recording (DAT plus analog)
- Sometimes you will simply be dubbing informant’s recordings – have the equipment for this.
- Checklist
- Is your mic on?
- Is everything connected?
- Test.
- Monitoring
- Using headphones (not always practical)
- Make sure VU meter is moving and tape is moving. This generally assures that you are recording.
- Better not to move the mic around – this creates confusion later – but occasionally movement is warranted.
- Beware: (1) pause button; (2) end of tape. Keep a check on the time using your watch, or even bring a stopwatch.
- Adjusting levels. Levels should be as high as possible (improve s/n), without distorting, clipping, or causing print through. Try not to adjust levels during the session. Turn off automatic level control if possible.
- Maintain a broad field of awareness. You must continue to interact with people, and anticipate difficult situations. Don’t become over-immersed, even if it means sacrificing recording quality. The recording is rarely the ultimate goal, and you can often repeat the situation, so don’t let it ruin your field relationships.
- Permissions
- Documenting, filing, storing media
- Do this as soon as you get home, using whatever filing system you have adopted.
- Break the recording tabs.
- Best not to record on old tapes, nor should you bring partly recorded tapes to “top off” (risk losing work).
- Dub tapes as soon as possible and store off-site
- Treat this as part of your daily outfield work (along with writing up notes).
- Store tapes in dark, temperate (heat, humidity) place, away from dust, and secure.
- Consider locking your tapes up
- Best to set up a database of tapes from day one.
- Don’t forget
- Turn off mic if powered, or you'll drain the battery
- Backup digital files
