Lookit that man out there. He's quite a dish.

One of the best reasons to spend a weekend with other sound recordists is a chance to try out new gear. A classic nature recording technique is the use of a microphone set in a parabolic dish.

The general public knows of parabolics mostly from seeing people use them on the sidelines of sporting events. In nature recording, they’re for capturing species-specific sounds rather than ambiences. This is because the microphones in parabolic dishes are mono, and have sound pushed into them by the dish itself. This creates a very narrow “beam” of listening. Perceptually, parabolics seem like they “zoom in” on sounds, but this is simply due to such microphones just attenuating all the sounds outside that narrow cone.

Parabolics are also interesting because the frequency response is directly tied to the size of the dish. For most song birds, this is fine. Besides, making and transporting a 17-meter-wide dish just to get a 20Hz-20kHz frequency response just seems silly. At that point, you’re practically into SETI territory! :-)

I got the chance to use one at the Nature Sounds Society Field Workshop. The unit you see in the photo above was the one used by the founder of the NSS, Paul Matzner, so I was holding a bit of history: Hand-made of fiberglass and aluminum, the NSS archives have lots of photos with Matzner holding this thing. Had I looked at the archives before heading into the field, I’d have gotten a way better handling technique. Holding it by its edges introduced horrendous amounts of handling noise.

Today’s sound is from this unit, recorded at 5:01am at Yuba Pass, off California Route 49. As far as I can tell, this is a chestnut-backed chickadee. You can tell, even in this recording, he’s got a lot of pals around (woodpeckers and sparrows at least).

[DPA 4006 omni microphone in custom 1m parabolic dish into Sound Devices 702 recorder]

Neither dirt, nor fog, nor clouds of mosquitos keeps a field recordist from his crack-of-dawn tasks!

I’m finally unpacked and rested from the inspiring (and exhausting) 26th Annual Nature Sounds Society Field Workshop in California’s Sierra Nevada. Since my last post was a compilation of high-level personal experiences, I thought that I’d report back about what worked, or didn’t work, in the field on the technology side of things…as well as share a recording from our first early-morning field session.

• Outdoor Gear. My REI trail stool was instrumental in keeping my body still (I can be a fidgety so-and-so), the importance of which can’t be understated when your preamp gain is at 80% of maximum and you can hear birds’ wing flaps 20 meters away. [Hint: For nature recording, more layers of softer materials - like fleece, soft-handed polyester, and wool - are the best for staying warm and silent. Consider gaffer-taping your metal zippers, too!]
• Microphones. My primary MKH 50/30 rig performed brilliantly, with a strong signal-to-noise ratio even in the quietest moments. I also got a chance to try out a rather large parabolic microphone…more on that in a later post. [Hint: If you want a mic for nature recording, you need to be looking in the <-16dBA self-noise range, the lower the better.]
• Recorders. The ol’ 702 worked its usual wonders. I monitored as mid-side in the field, only converting to left/right once I returned. A +8dB side signal using Tom Erbe’s +Matrix plug-in made for a wide, enveloping sense of space without losing center imaging.  [Hint: Batteries drain faster when cold. Store spares inside your jacket, or in your sleeping bag with you overnight!]

The gear list across everyone was pretty insane: many Olympus LS10 recorders, several Sound Devices 744T’s, a Sony PCM-D50, and mics from DPA, Neumann, Røde, Sennheiser, and Telinga. Recording techniques varied from mono to mid-side stereo, XY stereo, ORTF, Jecklin discs, and even two binaural dummy-head rigs (see this site for a good explanation of all this alphabet soup). An outdoor mic directionality seminar helped to illustrate what each is good for, which was a rare opportunity and extremely educational.

Yeah, yeah, whatever. But what did it sound like?

Today’s sound was recorded around 5:45am on a day with a slight breeze and scads of ground fog. The location was Sierra Valley, north of state route 49 in the Sierra Nevada. This recording includes at least swallows (cave or barn, I’m unsure), American bitterns, red-winged blackbirds, white-faced ibises, yellow-faced blackbirds, and a bullfrog, and certainly more that I can’t identify.

Get those headphones on and close your eyes…

[Sennheiser MKH 50 and MKH 30 recorded as mid-side pair into Sound Devices 702 recorder]

I thought it might be interesting to share what I’m bringing with me to this interesting outing. (Well, OK, fine, I really needed to make a packing list and I just suckered you into reading it.) Later this summer, I’ll not only share some recordings and photos from the field workshop, but will recap the gear used and how it all performed.

So, what am I bringing?

Personal Gear

• Permethrin-treated clothing, bug headnet, insect repellent, and waterproof hiking boots. The Sierra Nevada had a very wet winter and the entire mountain region’s spring is about a month behind schedule. This will mean one of three things: Snow, soggy ground, or mosquitos (ooh, maybe all three!), depending on local conditions and the locations we travel to. Any recording will be ruined if I am rustling due to bug-laden distraction. [Side note:DEET is pretty awful stuff, but I've tried many alternatives in the Sierra Nevada with zero success over the years. It can melt plastic on contact, so wearer beware!]
• REI Trail Stool, chosen to keep my behind high and dry for being the sturdiest, lightest-weight stool I could find.
• Petzl e+LITE headlamp. While I use even lighter-weight LED lights for backpacking, the Petzl could be handy for navigation around camp and for gear setup, given that our wakeup calls could be as early as 3:30am. This’ll be clipped to whichever recorder I bring.

Recording Gear

• Sennheiser MKH 50 and MKH 30 mid-side stereo microphone rig. A variant on the nature-recordist standard MKH 40/30 pair, I happened to invest in the MKH 50 because its hypercardioid pattern is much more useful the mono effects I capture in the field. This creates a bit more of a focused center stereo field, which I’m usually OK with. This rig will be mounted on a Rycote stereo suspension and inside a Rycote windshield.
• Røde NT4 XY stereo microphone. My one backup mic will be securely wrapped with a dessicant pack unless needed, in a bag with a Røde Blimp. [Handy hint: Use a windshield like a mini box of its own. Use it to carry other stuff, from windbreakers to unmounted mics. Way smarter use of space in a bag or pack.]
• Sound Devices 702 field recorder and Fostex FR-2LE field recorder. Given how remote this area is and because, well, $#!% happens, I’m bringing the FR-2LE as a backup. I’ll have two batteries for the 702, and both a battery sled with NiMH AA batteries and a RC-style Tamiya rechargeable battery for the FR-2LE, all fully charged the day before I go. Both recorders will be in model-specific Portabrace cases. I only use SanDisk Compact Flash cards, and will have two 4GB and two 8GB cards with me.

Grip & Cases

• Slik SprintPro Tripod. Does for my mics what the trail stool will do for my ass.  I’m connecting the mics’ Rycote grip to the tripod head using a simple 1/4-20 to 3/8″ bushing and, as a backup in case that gets lost, a Manfrotto quick release system with a 3/8″ QR plate.
• LowePro Magnum 200 case. This will hold all the extras, bits, and bobs I might need: the Røde NT4, Rycote Windjammer and its comb, screw adapters, tools, 2 backup CF cards, Rainman cover, and boom pole. This’ll probably live in the trunk of my car; I don’t anticipate shlepping it into the field.
• My trusty adventure-racing-style Solomon backpack will carry all my personal effects for our outings, including extra sunscreen, clothing, rain gear, water, camera, and snacks.
• Depending on the length of the hike to our recording locations, I may wear my recorder on my chest with a LowePro chest harness.

Wish me luck, and more info soon!

To paraphrase Ned Flanders, "That set my beatbox all the way up to Roomba!"

Lavalier microphones (“lavs”) are used with wireless transmitters and receivers all the time in the world of film and video production because, well, actors move. Sometimes it’s the best way to mic someone if you can’t keep up with their movement or a boom can’t get close enough, as with a wide shot. They’re not usually the first choice for miking talent, but they’re a common one and a good tool for certain conditions.

Wireless lavs are also handy in sound design for the same reason: Some things move. When they move, you need to pan your mic with it, or accept off-axis sound falloff, or be trying to get a Doppler effect. If you want your mic point-of-view to stay on something moving, and a cable’s going to get in the way, then a wireless mic system is just the ticket.

But, as with everything, there are some caveats.

First, lavs are really small, and that often means some compromises in their design. Some have limited dynamic range, others have pretty high self-noise. There are a lot of lavs to choose from on the market. DPA and Sanken produce lavs that rival expensive wired small-condenser microphones, and they command the pricetag to prove it. Countryman is a solid brand whose lavs represent killer values, and are famous for their moisture resistance.

Second, the fidelity of wireless audio is fraught with pitfalls. All units are susceptible to RF interference, and it can sometimes be hard to find a clean channel that’s not being broadcast on. Metal objects, interference, and intermodulation can all slay your range. Older or super-cheap units are VHF, which should be avoided in favor of current UHF or fully-digital units. Unfortunately, you get what you pay for in wireless systems, whose cost stretches over an order of magnitude, from $300 to $3000, typically for one channel of audio.

Finally, lavs need to be wired appropriately. This is usually XLR if you want wired, or for one kind of wireless transmitter. Your lavs can only be wired for one type of connection, period. A notable exception is DPA, which uses their own proprietary connector and sells a boatload of adapters. As long as the pin wiring is compatible, you’re good to go. (In a way, this makes DPA’s a great value if you want to run both wired and wireless.)

But the creative possibilities tend to be worth the investment. Modern lavs are tiny; they can be put anywhere, and can be hard to spot. This is why many recordists/phonographers use them for binaural recording. They weigh almost nothing, making them easy to rig. Many recordists use them to record vehicles for that reason (search for “lav engine” if you’re a member of the Sound Design Yahoo! Group.

That’s a lot of words to justify strapping a wireless lav to my robotic vacuum cleaner.

Ready to do donuts in my living room.

To make a long story unbearable, we got a new Roomba to replace an ailing one. The wheels make this neat, high-torque grinding sound when they rotate, and the engine sounds efficient and modern. I wanted to record it moving, especially manually moving it without the engine engaged, but I’m not a great boom op: I couldn’t move the Roomba and keep a mic the same distance 100% of the time.

So, I took a Countryman B3, plugged into a Lectrosonics transmitter, hooked up the receiver to my recorder, and let ‘er rip. (Hint: Be sure to isolate the mic from mechanical vibrations. Pick-n-pluck foam from Pelican cases is great, but so is the self-adhesive Dr. Scholl’s thick moleskin foam, the thicker version of what production recordists use to isolate lavs from apparel rubbing.)

You’ll notice in the photo above that there is a foam windscreen on the lav, and it’s hanging juuuust over the side edge of the Roomba; that’s where the wheel is. I neglected to remember that the Roomba just fits under our coffee table, so the transmitter got ripped off, but Lectrosonics units are built like tanks, and the Countryman lav cable is reinforced with kevlar, so no harm done!

Today’s sound is a collection of motor and wheel sounds that has me desperately wanting to spend a weekend redubbing parts of Wall•E for practice.

[Countryman EMW B3 microphone via Lectrosonics UCR401 into Sound Devices 702 recorder]

Magnet + Hydrophone from Noise Jockey on Vimeo. [Did you miss my first video?]

It is what is says, people! ;-) I ducked out some handling noise, but for the most part the audio is unaltered. Enjoy.

Use gear made by those who make gear they themselves use, and make gear for other users. That's prosumerism.

[Gigantic über-thanks to Tim Prebble and Richard Devine for their contributions to this article.]

The title of this article isn’t what you think it is.

You can’t shop for electronics or technology without hearing “prosumer.” People assume this portmanteau is a contraction of “professional-consumer.” Only marketing wonks have made it so.

That is neither its original meaning, nor the topic of this post.

The term was coined in Alvin Toffler’s seminal book Future Shock as a contraction of “producer” and “consumer,” predicting the merging of the roles of consumption and production into the life of one individual, primarily due to customization of mass-produced objects and the creation of highly specialized products. That is, person A makes widget X, who sells X to person B who makes widget Y, which person A, in turn, buys…it’s a massively networked set of cottage industries. This trend has exploded in the last decade. When Wired writes about micro-manufacturing and “no more factories,” we’ve probably arrived at a prosumer tipping point.

That, dear friends, is what this post is about. And yes, this is audio-related. Chances are, this article is probably about you, too.

Prosumerism: Why Now?

The growth of this trend can be largely attributed to the Internet and economic globalization for increasing individual access to tools, techniques, and materials. Things may be designed anywhere, be manufactured in the same factories that major brands use, and shipped anywhere…if it’s even a physical product at all. A prosumer can build pro-level anything in his or her own home by ordering parts from anywhere in the world.

If you doubt that we’re in the era of the Tofflerian prosumer, one need look no further than two trends: The proliferation of products that can be customized online, and the increase in cottage industries – often just one person – making technically advanced or unique products for niche markets that compete in every way with mass-produced products. Even if you’re not into Marxist theory, this shift has interesting implications for those of us who use audio hardware and software.

Prosumerism in the World of Audio

ZVex pedals and Livewire synth modules.

Let’s look at those two big themes as they pertain to the world of pro audio: Mass customization and the creation of niche/unique products.

First, “mass customization” is common in the world of audio hardware. There’s Michael Joly, who modifies cult-favorite Oktava MK-012 microphones to make them lower-noise and with better frequency characteristics. The well-known Oade Brothers who modify off-the-shelf, mid-level (the marketeer’s “prosumer” range!) audio recorders to produce lower-noise results with better dynamic range that compete with higher-end professional units.

Next, consider those who basically create gear for themselves, and then wind up turning that into a business to sell those products to others like them. You have Robb Nichols from Aquarian Audio, producing some of the best-quality, low-cost hydrophones out there. Dan Dugan of San Francisco makes automatic mixers used by huge networks in his one-room (albeit massive) workshop. Musicians make their own audio hardware, like the insane effects pedals Zachary Vex, and the analogue synth modules of Mike Brown (Livewire), Tony of MakeNoise, and Scott “Harvestman” Jaeger.

This doesn’t apply to just hardware! Shareware is made by individuals, to say nothing of audio plug-ins. Most apropos to this site, individuals like Chuck Russom and Tim Prebble, who use sound effects for a living as sound designers, create sound effects for other sound designers, bucking the aggregate-effects-house business model. I’d not be surprised if each of them will wind up purchasing each other’s effects collections…the ultimate in prosumerism.

The Benefits

What I think is most interesting and exciting, though, is it puts the users of this equipment into direct contact with the manufacturer. No marketing layers to penetrate, no call centers to deal with, no email-only front-line tech support. I don’t know how many of us take advantage of this, but it’s an amazing experience. The consumer directly can influence the producer by providing feedback, or even just doing something unique with the product that the producer never intended, and letting them know about it.

So…what’s all this got to do with you?

1. I know that some of my readers are these people I’m describing, so consider this the longest thank-you letter you’ll ever get for the killer products and amazing customer service.
2. If you use these products, close the loop. Call or email the Makers of Your Things and tell them what’s great, what sucks, how it can be improved, and what you’re using it for. Otherwise they produce things that get sent into an abyss, and I suspect that’s not what they want to do. They want to make things for people, not widgets that fly off the shelves for the absolute lowest cost. It’s about relationships.(Their attention to detail also can make for better products.)
3. If you’ve been wary about small-batch, hand-made products, that’s OK…and smart. But do some research and ask around, and you’ll find that there are a lot of very experienced and smart people out there making solid products. BUY FROM THEM. It stokes the independent spirit and gets money into the hands of the makers, not the sales department or marketing team.
4. If you’re interested in electronics or make things for yourself, get online and talk about it. The law of averages would suggest that you’re probably solving someone else’s problem, too.

Be a part of the greater ecosystem and community of products, or make some of your own. You’ll be all the richer for it.

UFO or listening device?

I learned a long time ago to share my mistakes with others. It keeps me humble, and reaches two groups of people: Those more experienced than me who can help correct my errors, and those who might not have tread these waters before and who can learn from my experiences.

Which brings us to today’s post: recording ambiences using a pair of miniature omnidirectional microphones in boundary layer mounts. I learned a ton doing this, but the end results weren’t great. Today we’ll talk about what I accomplished and why it might not have worked out as well as I had hoped.

After my recent post on urban ambiences, I decided to record some fresh ambiences using a pair of DPA 4060 microphones using two techniques I hadn’t tried before: spaced-pair stereo and boundary-layer microphones.

Spaced-pair stereo is a technique that’s based on both relative volume and delay of sound reaching two omni-directional microphones several feet apart. This gives the sense of a stereo field. I was recording street-level ambiences from a third story of a building, and settled on about a 12′ distance between the microphones. (There are equilateral-triangle and 3:1 guidelines about intra-mic-and-subject spacing, but I did as best as the local architecture allowed!)

After recording for a while, I mounted the DPA 4060′s into boundary layer mounts (BLM’s) and kept them the same distance apart. Boundary microphones work by taking advantage of the boundary effect, wherein sound undergoes natural amplification just a fraction of an inch above a large, solid surface. While certainly not as good as a dedicated boundary mic like a Sanken CUB-01, it’s a nice way to start experimenting. So, I popped the 4060′s into the mounts, taped the mounts to my office windows, and got rolling.

Today’s sound is simply comparing two sets of vehicle pass-by’s, taken from a much longer city-ambience recording. The first is with the standard DPA 4060′s in their foam windscreens and Remote Audio MicroCats to eliminate wind noise. The second features the same mics in the same positions, but popped into the boundary layer mounts. For my part, I noticed two major things.

• First, the apparent (limited) stereo field is mostly from volume differences between the mics and not the distance between them. Based on where the sound originated from, the delay in transients between the two mics was less than 30ms. Greater separation would have helped, I suspect: The separation I used is probably good for chamber orchestras but not for a whole city block.
• Second, the BLM’s produced a much tighter sound; I sense more sounds of cars on the road than the roar of cars reflected off of the nearby buildings. I think that the windscreens on the DPA’s attenuated more high-frequencies than the BLM mounts did , but still – the difference in crispness is pretty intense. Listen to the birds in each clip, especially. However, the center of the stereo image is pretty “dead.”

I’d love to hear if others have used similar techniques, or have better best practices around them, in the comments of this post!

[DPA 4060 microphones into Sound Devices 702 field recorder]

Horse hair, water, mic, and wok lid. Now we're cookin'!

My last post featured teensy finger cymbals being dipped in water while resonating, recorded with a submerged hydrophone. This time we go a bit bigger.

Bowed cymbals are one of the classic clichéd horror movie sounds…clichéd because they’re awesome! (coincidentally, just yesterday, Chuck Russom posted some great examples on his blog.) I recorded some a while back, borrowing some cymbals from a friend at work who keeps his drum kit at work. During that session I also realized that the wok lid from my kitchen made similar sounds, but with a different timbre: More groany, throaty, less musical, but with a quality I liked.

So, I played the wok lid with a violin bow as I moved it into and out of a tub of water, again with the trusty Aquarian H2a-XLR hydrophone tracking to a Sound Devices 702.  The H2a can be overly bright on some material, but for this stuff it was pretty good! (Next time I should record the above-water sound to a second channel with a small condenser mic for more mixing flexibility.)

The recording below is 100% unedited except for some slight compression and normalization.

[Aquarian H2a-XLR hydrophone into Sound Devices 702 recorder]

Hydrophone + Ice + Tonic. Sound and cocktail design in one easy step.

The latest addition to my microphone quiver is the Aquarian H2a-XLR hydrophone. For less than US$200, you get a really well-built unit with a high specific gravity (less sway in moving water) and a thin, flexible cable with an extremely supple “hand.”

I also got the rubber cup that enables it to be used as a contact microphone, and I must say that it also excels in this capacity: Super-low noise and very articulate, even recording human heartbeats with clarity (Hint: Aim for the sternum, the pecs have too much muscle and fat in the way). The H2a’s weight, however, prevents it from being easily taped upside-down or held in odd positions like my other contact mics I’ve used in previous posts.

I can’t hope to improve upon Darren Blondin’s excellent review of the Aquarian H2a, so in the short term, I’ll instead offer some quick and dirty recording results with it, with perhaps some more detailed results and analyses in the future. (Oh yes, some very strange recordings to come…)

When the H2a came in, I placed this device in all the usual places you’d expect for some quick tests: the sink, the bathtub, the cats’ water fountain. But having just discovered some very tasty tonic water for making cocktails, it struck me that I’d not recorded carbonation before. After hearing the clear, but not overly-bright, tones of the carbonation, I decided to mix up the room-temperature tonic water with some ice cubes.

The ice’s cracking, melting, and expansion was largely in the same frequency neighborhood as the carbonation bubbles and added an interesting dimension to the sound. Some initial sound processing makes me think that melting ice in still water might make for a cool creature sound pitched down -3 octaves or so, but for today, let’s listen to the original recording, unadorned and unprocessed.

[Aquarian H2a-XLR hydrophone into Sound Devices 702 recorder]

This wasn't the helicopter I recorded. This is just the only photo of a helicopter I've ever taken! (Shot on the Kaikoura Peninsula, South Island, New Zealand.)

Audio professionals may cringe when they hear this, but I always keep a microphone mounted in my windscreen/blimp/zeppelin, which is always on a short boom pole. No doubt I’ll pay the price when the little mic suspension’s rubber bands stretch and age prematurely, but I like to be prepared for those unexpected moments.

This paid off when I heard a helicopter over my house…much lower and louder than usual. I poked my head outside and could tell the pilot was going in very tight circles over my street. I grabbed my mic rig and my field recorder, and all I had to do was plug in, power up, and hit “Record.” Granted, I happened to have a stereo mic in my windscreen, which wouldn’t have been my ideal choice, but I’d rather use it rather than lose the recording! (Want a horribly embarrassing tale about losing a choice recording opportunity? Read the epilogue after this post’s sound recording.)

I don’t exactly live in a city center, so I’ve got both highway and bird noise polluting most of my backyard recordings. This time, though, the helicopter was so low that the highway was drowned out, and he circled enough times that I was able to do some splicing of the takes to eliminate most of the birdsong. EQ could remove the rest, but I didn’t want to lose the higher-frequency sizzle that I liked in the recording. I did some surgery to make it loop seamlessly, and the result is below.

Circling Helicopter by noisejockey
[Røde NT4 stereo microphone into Sound Devices 702 recorder]

Epilogue and cautionary tale: I was at a hut on the Kepler Track in New Zealand when a helicopter landed on a nearby pad to drop off some fellow trampers/hikers who were “heli-hiking.” I scrambled for the Zoom H2 in my pack. Through the headphones, the sound was loud, intense, perfectly overwhelming what tiny background noise there might have been. I listened to the chopper landing, idling, and taking off. And then I realized I was only monitoring the entire event, not actually recording. The H2 requires one press of the Record button to arm recording mode, and another press to actually get rolling (a common interface convention in most hand-held recorders). In the moment, I lost track of how many button presses I did, and my fuzzy windscreen prevented me from seeing the time -elapsed readout, which of course wasn’t moving. What is there to learn from this, besides that I’m a complete spastic loser?

• Never assume anything. Triple check everything, even if you’re going to introduce handling noise or off-axis sound into the beginning of your recording. Better to have a shorter recording than none.
• Gear that’s always in record mode when it’s on is good, gear that audibly gives you feedback when you’re rolling is better, and gear whose display isn’t concealed by necessary accessories is best.

(P.S. The title of this post refers not to what I saw, but the song “Unmarked Helicopters” by Soul Coughing, which has been playing in my head ever since I made this recording. Damn you, catchy melodies, damn yoooouuuu!)