Thus quoth the raven, "Press record, idiot!" (This picture was taken years ago in Oakland, CA, not where today's sound was recorded.)
[One in a series of posts from my spring 2011 trip to the southern California desert.]
I love ravens. Not because I’m all Mr. Gothy McLordbyron, but because they’re big, majestic, smart as hell, and have gravelly voices. Like crows, but drunker. They’re the Tom Waits of the bird world.
Ravens aren’t exactly rare, and perhaps because of this, they’re hard to record in the wild. They can be anywhere: Urban areas, tops of trees, windswept hills…but by the time I show up with a recorder, they’re either deciding to be quiet or are surrounded by traffic noise, intense winds, other birds, or even people. I’ve had the darnedest time capturing one cleanly.
Thankfully, the ravens of Joshua Tree National Park are pretty fearless…well, they’re also always looking for snacks, and have learned that people can be a good source for tasty (dropped) morsels. I’ve noticed that they often travel in pairs or groups of less than four to six, and one day we were followed by a pair of ravens as we wandered the desert trails. The vocalizations aren’t anything super-special, but they’re (for once) pretty clean, articulate, and detailed. Just what I was hoping for!
This raven was talking to his companion quietly as they spread out looking for snacks. He landed about twenty feet from me and I recorded him as he was hopping around. I like the little lilt he added at the end!
Eton Mine, Lucky Boy Trail, Joshua Tree National Park, California, USA.
[One in a series of posts from my spring 2011 trip to the southern California desert.]
Joshua Tree National Park is beautiful, but much of its history (prior to being designated a National Park) has scarred and pockmarked its landscape. In the Gold Rush, the Joshua Tree hinterlands held some of the most productive mines in California until well into the 1900′s. These mines were big, sprawling, and deep. To my knowledge, no Balrogs were released as a result. But that would explain a lot about Golden State politics.
We hiked on some lesser-traveled trails and found an acre of land with no fewer than five vertical holes in the ground: Mine shafts. They were all wired off and had metal grates over them. One in particular, the Eton Mine on the Lucky Boy trail, had warning signs on the wire fence surrounding it.
It was quite windy that day, and I just knew I had to get the creaking, squeaking sounds of this battered sign on the rusty wire. It took me a surprisingly long time to figure out how to protect my handheld recorder from the wind, but ultimately I decided to use my body as a shield and then stick it under my microfleece hoody. (I had the OEM fuzzy windscreen on it, which is one of the most useless strips of fabric I’ve ever seen, er, heard.) I just hoped that my body protected it from the 25+ mph wind gusts and that the fabric wouldn’t dampen the high frequencies too badly…and because of the sound, I had high-frequency content to burn.
With some judicious noise reduction in post – subtle, as always, gives the best result – it didn’t come out too shabby, considering the horrible recording conditions and super-no-budget wind blocking techniques!
"Ol' Wheezy" the Water Spigot, as we called him, at our campground in the desert.
[One in a series of posts from my spring 2011 trip to the southern California desert.]
Joshua Tree National Park is in the Mojave Desert. It’s dry. Only two campgrounds in the entire park have running water of any kind. Bad weather on the coast of California caused us to decide to stay in the desert at the tail end of a week’s vacation, so we were lucky to just show up at Joshua Tree and grab a spot at one of these prime campgrounds.
I camp a lot, all over the place, but I had never seen a water spigot quite like the one near our site. It was like the wet dream of a post-apocalytpic film production designer: Big, industrial, heavy, and red. If a common water pump could be bad ass, this one could.
Anyway, the draw-up of water sounded really neat, so I whipped out the ol’ handheld recorder and took some samples on our last morning there. It reminded me a bit of the sound of EVE coming out of her landing ship’s tube from the film WALL•E.
In developed campgrounds, you need to be up really early to avoid noise from fellow campers. No wonder I like backpacking so much…
[One in a series of posts from my spring 2011 trip to the southern California desert.]
Anza Borrego Desert State Park is the second largest state park in the lower 48 United States. It’s dry, as its name implies, but it’s very seismically active and has many natural hot springs and oases scattered throughout the park, so water is less scarce than you’d think.
Even so, it shocked me almost beyond belief how filled some of these hot seeps were with frogs, and how loud they got at night. Sadly, I didn’t get any pictures of these tiny thumb-sized frogs, puffing out their chins to impress their ladyfriends, but I watched them for an hour with my headlamp while I recorded them from several perspectives. (Tip: Get a headlamp with a red LED or filter. This goes a long way in preserving your night vision while still illuminating nearby things like field recorder controls, and tends to spook animals less.)
Here is one long take from this session. It starts with distant frogs, one slow croaker nearby, and then gets really hopping (ugh, sorry, I had to do it) around 1 minute in. Then, after two and a half minutes, it dies down as quickly as it started.
While this isn't the rig used for today's recording, this window's cruddy construction and age yielded some interesting sounds!
At work one day, I noticed that a large truck on the street was causing one of our single-pan glass windows to rattle. I whipped out my Sony PCM-D50 and captured some of it – that’s today’s sound you can hear below.
The audio quality of this clip isn’t great (lots of bleed from outside noises, but hey, it’s a cruddy old window – and that’s why it was rattling like that!), but it brought to mind an interesting idea: Windows rattling in their casements are pretty strange sounding, and it is a sound I’ve not heard used in films (or if it has been, it’s rare and I don’t recall consciously hearing it before). It struck me as an interesting idea for future sound design in buildings under stress, or just for creepy interiors. I did a lot of shaking of the window manually, but nothing quite captured the high-speed rattle of this original recording, so I hung onto it for a reference.
It’s a craptastic recording, though. But it just goes to show you that sometimes pressing the “Record” button might not give you the cleanest sound, but can still capture a reference sound that you can try to emulate, re-use in different ways, or to suggest whole new concepts that you might not have considered before. In this case, it made me realize what parts of buildings might have deteriorated when they get to be a certain age, which can help to inform the design of such ambiences or effects in the future.
Posted: February 3rd, 2011 | Author:Nathan | Filed under:theory
The audience says "meh" when you say "meh." Image: Arch Wear/Zazzle.
When you’re creating something, nothing kills faster than ambivalence.
I’m not talking about ambiguity. When the viewer or listener comes to your work, it’s OK to be ambiguous. The best art and design only goes halfway: The viewers themselves must ideally step up to the work and actively engage with it (or be engaged by it) in order to leave a significant emotional impact.
This is where a lot of abstract art fails. Too much mystery with too little to draw emotional interest can render the piece inaccessible even to willing viewers, a reaction that many have to the works of Rothko and Pollack, and even the much-maligned Wolff Olins Olympic logo design. Music can do this, too, when compositions are too abstract and even alienating, whether it’s some of the later works of Autechre or the atonal and complex works of Ligeti. But by leaving a few things tantalizingly uncommunicated, the audience can really engage their senses and curiosity to create a lasting impression which they, themselves, have helped create.
Ambivalence doesn’t lie in the work, or in the audience…it comes from the maker of the work. Ambivalence can be the result of making arbitrary decisions for the sake “done.” It can also come from facing an issue with the work and ignoring it or punting on it for later, and never circling back around to it.
In sound, ambivalence often comes from not taking a stand on big issues, like representation versus abstraction. If one scene has a mix of both very literal and very abstract sounds, the viewer may not understand what emotional state the characters are in. A confusing mix of diegetic and non-diegetic sounds – a classic snafu by sound designers who are driven by the coolest sounds, not the most appropriate sounds – can seriously muddle the narrative message. In game design, this can mean the difference between a player being oriented properly in the game world to misinterpreting sound cues that can lead to poor decision making in-game.
You can recognize ambivalence when you say, “tsk, I guess this will be OK.” You can anticipate ambivalence when you hit the point of, “we’ll circle back on this sound later in the mix and see if we can make it better,” but it never happens. You can smell ambivalence when working with clients, producers, or directors who don’t have clear visions for the emotional content of certain moments.
How does one fight ambivalence? One makes a stand. One analyzes the context of the design problems, and creates a framework, theory, or design approach that all decisions can refer back to. One digs one’s heels in and says, “For this use, and in this context, this approach feels emotionally right, for these reasons, and all aural decisions should be based on this framework.”
It’s not all bad news if this decision-making framework fails to produce the right results. If it doesn’t solve the problem, you at least know it’s the core thinking that’s flawed, not the specific sounds you chose. It’s how you’re using the sounds that’s the problem. The great thing about discovering that level of failure is that you can revisit the highest level of the problem and discuss it…this keeps the discussion at a more strategic level, which will help to prevent the client(s) from micro-managing the actual sound design and implementation process. That’s where your expertise comes in, and is most relevant.
Sure, it’s important to be right. But I think it’s more important to have an opinion, early and forcefully, even if it doesn’t work out. Fail early and often, as so many creative professionals suggest. Get your co-workers and clients used to evaluating your approach and thinking than the nitty gritty details of implementation. The former can help “scaffold” your decisions as you revise, whereas critiquing only the latter may not ever resolve the core issues of how sound can support the visual narrative.
Being wrong is better than being ambivalent…as long as you do so early enough that you can reframe the problem and course-correct before the due date.
Mr. Heater, the oddest and loudest camping stove ever.
One of the guys at work loves camping gadgets (as do I), and he shared a video of his odd little Mr. Heater camp stove making some weird unholy racket. Naturally, I asked to borrow it and did some recording sessions with it over the holidays.
A metal reflector lets the unit be used as either a heater or a camp stove. This ring of steel doesn’t make much sound when it’s running (all you hear is the hiss of gas emission, much like this recording), but it sure resonates when the stove fires up, starting as one tone and diverging into two separate tones, creating a harmony. Very effective or driving away bears, or as a means for summoning the dead.
The only processing applied to this sound is some noise reduction to minimize the gas regulator’s hiss, to pull the resonance forward. Recorded at 192kHz, a clip like this is ripe for pitch shifting for even scarier tones! (Mic placement was tricky; placing the mics right in front would melt them instantly.)
[Sennheiser MKH 50/30 pair, rigged for mid-side stereo, into a Sound Devices 702 recorder]
Yes, the Noise Jockey Corporate Yacht follows the Noise Jockey Online Branding and Color Usage Guidelines.
Kayaking on the Whiskeytown Reservoir in Northern California, I was surrounded by motorboats pulling wakeboarders. I wanted to see what all those speedboats sounded like underwater, so I dropped my hydrophone over the side and took a listen (with my field recorder safely under the deck of my kayak, in a dry bag). The inboard engines emitted a clean, high-tech whine with none of the chunky, air-gulping combustion engine sounds we typically hear in the air. “Spaceship,” I instantly thought.
I merged two recordings of these motorboats, each about half a kilometer away, futzed with them just a tad (sorry, my effects chain is lost to the dim mists of time!), and turned it into a loopable drone.
[Aquarian Audio H2a-XLR hydrophone into a Sound Devices 702 recorder]
Who knew pine trees grew on sandy Caribbean atolls?
This sound was recorded on Christmas Eve in 2008, on a tiny speck of sand and palm trees in the Caribbean called Glover’s Reef, at the edge of an atoll dozens of miles off the coast of Belize. Someone had hauled a pine tree to the island and decorated it. While palm trees swayed in the wind and the surf broke all around (which you can hear in the background), a small Christmas card sound chip strapped to the tree – so small I couldn’t find it in the dark – played ultra-low-quality Christmas carols all night long.
Hope your holiday season, no matter what your persuasion, is filled with love and peace…and a decent signal-to-noise ratio. Merry Christmas and Happy New Year!
In North America, the end of the Western calendar year brings Thanksgiving, Hanukkah, Kwanza, Christmas…lots of holidays, most of which revolve around eating. In our household, that means one thing above all else: PIE SEASON.
My wife loves making pies and tarts, and one of the baker’s secret weapons for such endeavors are pie weights. They’re simply large, heavy versions of the more common metal-ball-style keychain. Ours is about four feet in length.
While washing dishes after a piemaking bonanza, I noticed the sound it made as I dragged it over the lip of our stainless steel sink. Finally, on a rainy winter day, I decided to do some recording and processing.
I grabbed three things for this session: The pie weights, a really beat-up baking sheet, and a small model of a Dalek made from spare parts (a gift from a dear friend). I simply moved the pie weights across each of these objects in different ways. Hot metal-on-metal action!
The balls on the pie weights made a great ratcheting sound that instantly made me think of a castle portcullis being raised and lowered, or a ship’s winch retracting an anchor. Of course, the size of these weights made pretty bright sounds, but that’s what pitch shifting is for…
So, today’s sound is a mix of these sounds, some raw, and some pitched down significantly. I didn’t do anything besides pitch shifting and EQ, just to show how flexible these high-frequency, detailed sounds can be when recorded at 192kHz. These sounds were recorded with a large-diaphragm condenser mic, because I found that proximity effect from close-miking with a small-diaphragm condenser produced too much bass to provide the balanced, bright sounds that I was going after.
[Røde NT1a microphone into Sound Devices 702 recorder]
