A multi-disciplinary designer’s journey in field recording, sound design, and music.

Lighthouse Winds

Posted: April 22nd, 2015 | Author: | Filed under: field recording, gear, nature recording, sound design

lighthouseBaja

My past winter holiday involved a sea kayak crossing to Las Islas de Los Todos Santos, a pair of islands four nautical miles offshore of Ensenada, México. We were greeted – and partied with – a nearly toothless lighthouse keeper, and slept in an old lighthouse built in the 1930′s.

We had two days of 15-25 knot winds, and as you might imagine, a lighthouse is a roughshod place. The winds were howling through the old windows and making amazing sounds.

Only one problem: I had a small sea kayak with no room to even pack a handheld field recorder. As I’ve said many times before, the best field recorder is the one you have with you, and this case, my only option was my iPhone. In glorious, shimmering mono.

Today’s sound are of these howling winds, recorded with the Voice Memos app on iOS. I’m not about to make a habit of using my iPhone as a field recorder, even with aftermarket microphones, but hopefully this goes to show that sometimes you do the best with what you have. Especially if the sounds and location are literally once-in-a-lifetime events.

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Desert Train

Posted: April 21st, 2015 | Author: | Filed under: field recording

I’m in the Mojave National Preserve. Massively underrated location, more Joshua trees per acre than Joshua Tree National Park. Gorgeous. Quiet.

My girlfriend is photographing wildflowers in a shallow roadside arroyo. The road follows a set of train tracks; there are small bridges over each arroyo, wash, and ditch. I’m a little bored.

I hear a distant train.

“Where the hell is my field recorder?!?!”

I rummage through the back seat of our car, packed with disorganized camping gear. I violently toss out three huge bags to get at the small Pelican case that holds my Sony PCM-D50. The train gets closer.

I switch on up the D50: No power. “F#&%!!!” I dump the dead batteries into the desert sand, slam fresh batteries in. I toss the Pelican case in the sand and sprint to the small concrete bridge over the arroyo. I slate the take as I run. The train is now visible and almost at the bridge, arriving from my right. I’m rolling. I’m ready…or so I think, having never recorded a train close up before.

The train has two locomotives at the front: They absolutely overload the mics and kick in the D50′s horrendously useless limiters. “S#!%!!!”

But then the cars start rolling by, at least 30dB less loud than the engines. I’m taken aback by the loudness difference and the relative quiet of the cars’ wheels. I’m only 18″ away from the rails; the center of the wheels are at my eye level, elevated above the wash I’m standing in. The old freight cars make a solid chack-chack-chack rhythm, sometimes a galloping sound like a 12-legged horse. The modern liquid container cars produce a smooth, buttery whoosh as they pass. The final engine passes by, screaming like a spacecraft in a sci-fi movie.

I think, for a moment, that I will have no photo to accompany this sound on my blog. Then I do my absolutely ugliest, uncoordinated happy dance, seen only by the ravens and the bees.

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