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

Static Shower

Posted: April 25th, 2014 | Author: | Filed under: field recording, found sound objects

This post doesn’t have a whole lot of details around it, but the sound is neat.

I don’t remember the hotel. Was it the crappy motel in Monterey? The mildewed joint in Fort Bragg? Something more upscale on a work trip? I really don’t recall. But I remember the showerhead.

There was an aerator on the showerhead that, when the water wasn’t quite all the way off, made the most interesting sound as it sputtered out small air pockets in between drops. It sounded purely electrical and nothing like water at all. Check it out.

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Beach, Please

Posted: April 16th, 2014 | Author: | Filed under: field recording, nature recording
The view west to the Pacific Ocean from Catala Island, British Colombia, Canada.

The view west to the Pacific Ocean from Catala Island, British Colombia, Canada.

During my 2013 kayak-camping expedition on the west coast of Vancouver Island, I spent a day by myself photographing and field recording Catala Island. You know you’re in a remote area when you refer to Vancouver Island as “the mainland.”

I found myself on a beach away from the direct Pacific swell, with a nice mix of pebbles and cobbles that made a wonderful rainstick-like tone when the gentle waves receded. (Of course, I’ve posted on recording waves before.)

Cobble cobble cobble.

Cobble cobble cobble.

But as isolated as I was, man made sounds still managed to intrude. A lonely acoustic buoy in the distance bleated like a seasick cow on every incoming swell. You may be able to hear this in the background of this recording, faintly, although an aggressive 130Hz high pass filter helped remove the worst of it. Luckily this also removed the distant roar of the sea, actually helping to focus the sound on the small waves that really didn’t have much low-end to them at all.

Many dozens of miles from any road, on an island off another island off the main continent, the sounds of man still pervade. Or perhaps invade.

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The MV Uchuck III

Posted: April 10th, 2014 | Author: | Filed under: field recording
The MV Uchuck III, passenger vessel and freigher on the west coast of Vancouver island.

The MV Uchuck III, passenger vessel and freigher on the west coast of Vancouver island. Kayak for scale.

One of the many reasons this site experienced an almost 1-year hiatus was a self-supported 2-week kayak expedition (check out the video of this amazing trip) on the northwest coast of Vancouver Island. The island is so riddled with deep networks of inlets that it’s actually quite hard to actually get to the exposed west coast. So, at the tiny logging town of Gold River, BC, we put our kayaks on the MV Uchuck III to get motored out to the coast.

The MV Uchuck III engine room, starboard engine.

The MV Uchuck III engine room, starboard engine.

The Uchuck III is a lifeline for those that live on the edge of the world, where no roads exist and all travel must be by boat. The Uchuck III brings mail, deliveries, empty dumpsters, groceries, supplies, fish farm provisions, passengers and kayakers from Gold River out to Kyuquot, where we started our trip. It plays a vital role in this extremely remote region, and many generations of skippers and engineers have plied this route. The boat is so storied that there’s even a book about it and its predecessors.

The Uchuck III is a heavily modified World War II minesweeper. The inner double hull and stabilizers were removed to make room for a cargo hold, a crane was added, and the pilot house was moved astern. Its two propellers are powered by one straight-eight diesel engine apiece (a more cranky and surly version of the MV Tutoko, which I rode and recorded in the inlets of New Zealand’s Fiordland), and the skipper can’t control the engines from the pilot house: An actual telegraph is used to relay coded bell rings to the engineer below to take certain actions and “shift gears.” When this thing breaks down, parts need to be machined in Vancouver, from the original construction plans kept aboard.

The engine telegraph unit.

The engine telegraph unit.

Because we were just passing through, essentially, I didn’t get a chance to record too much material, but this post contains some of the perspectives I captured of the ship’s engines and cargo crane. Being a kayak expedition, I only had room for my Sony PCM-D50 recorder, which sucked for nature recording while kayaking…but it was more than sufficient for the loud pounding of the Uchuck III’s twin diesel engines.

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Lite2Sound

Posted: April 2nd, 2014 | Author: | Filed under: field recording, gear, sound design
Rare Waves' Lite2Sound PX, by Eric Archer: A photonic microphone!

Rare Waves’ Lite2Sound PX, by Eric Archer: A photonic microphone!

I’ve previously written about the heavily-built, wickedly cool Grendel Drone Commander synth from Eric Archer. I check his site, Rare Waves, from time to time for new handmade electronic toys, and I was really intrigued by his newer Lite2Sound PX unit. This small device, in Eric’s words, “extracts audio from ambient light.” It’s a photodiode amplifier. Or a photosensitive microphone. Point it at light, it makes sound. It runs off a 9-volt battery, has a volume control, and a headphone jack. Simple, exciting, and a whole new world of sonic insanity. You can buy them as kits or, as I did, fully assembled.

Sounds pretty straightforward. If you just point it at bright, broad light sources, it’s kind of disappointing. It’s when you start listening to artificial lights in otherwise dim environments that some serious magic starts to happen. My experiments were conducted in and around high tech computer equipment, running an 1/8″ mini jack from the headphone output into my Sony PCM -D50 recorder.

Lights inside of PCs, modulated by fans…and further modulated by speaker grills as I passed the Lite2Sound from side to side. Ethernet network activity lights. Server disk access indicator lights. A close up of the power button of an XBox 360 while booting up. Pulsing lights of devices in standby mode. Halogen lamps behind spinning desk fans.

Lightly armored for future fieldwork!

Lightly armored for future fieldwork!

The resulting sounds were astounding in their range: Static, glitches, distorted synth pads, pure sinewave tones, sawtooth-like tones, and much more. You can’t control it, really. It’s a tool of discovery, and its very nature encourages constant experimentation. It was so small and so perfectly complemented a handheld field recorder, I just wanted to take it everywhere and point it at everything! It imparted the same joy as when you start recording with contact microphones, or hydrophones: A new way to listen to the world around you. The more I used the Lite2Sound, I put it in a small plastic container (hacked with an XActo knife for access to controls and the headphone jack) in order to keep the components better protected.

Lite2Sound is a pretty narrowly-focused device and how useful it is to you depends on your taste for the unpredictable. Me, I adore this thing. Hell, I bought two (for future stereo photo-phonic insanity). It encourages constant experimentation, weighs nothing, and I can see using its output in both sound design and musical contexts. Eric Archer nails it again with an odd concept and a rock-solid, focused execution that results in a toy that just begs to be played with.

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The Barn

Posted: March 25th, 2014 | Author: | Filed under: music, video/motion

We all get caught between having creative ideas, yet having extremely limited available time to explore them. To explore some personal creative ideas during an extremely busy time, I decided to give myself a challenge: Create a shortform video in 36 hours, inclusive of shooting, post, and sound.

It wouldn’t be the best thing ever, but it’d be a Thing. A Thing would be done…or as done as I could make it. The goal wasn’t to create the best thing ever…it was to make something. Period. And the time constraint would force concision, hard choices, and provide the constraints needed to be creative.

This resulted in The Barn. If you’d like to watch this short video, I’d prefer you watch this full screen. I’ll wait right here.

Given the focus of this blog, I suppose that I should speak to the music in a little more detail. I conceived, shot, and did a rough edit of the video in about a day. I slept on it, and composed the music the following morning in one session. The soundtrack is influenced by what I’ve been listening to recently: Ben Frost, Kammarheit, Erik Skodvin, Elegi, Stefan Németh, Paul Corley, and others. The music started with a sampler patch I created based on me playing my guitar with a cello bow, and some guitar plucks prepared with small magnets. Samples included wood floor creaks and static bursts that I had recorded or generated over the past year. It was created in Logic Pro 9. (The description on Vimeo addresses more about visuals for those that are interested.)

Could the music be better? More dynamic? More varied? Sure, yes, on all fronts, with no doubt. But this was an exercise in reaching done, a battle against hoping to maybe-sorta start something, and actually making something, warts and all. As they say, “Better can be the enemy of done.”

There are a bajillion things I’d like to change, improve, and alter. But in 36 hours – including decent sleep – that’s not important. The goal was to express an idea with time as the primary constraint. And the goal isn’t to continue to obsess and tweak this project: It’s done. Now it’s time for the next Thing.

I learned a lot from this small project, and will definitely do more 36-hour projects in the future. I relish constraints, even if they are arbitrary: They focus the mind like nothing else, and soothe the Blank Canvas Problem.

I welcome any thoughts, especially on the value of constraints, in the comments below. Thanks for watching and listening. I’ll return to more typical posts on field design and sound recording in the coming weeks.

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Aaaaand We’re Back.

Posted: March 18th, 2014 | Author: | Filed under: news
backbaby

With blackjack. And hookers. #futurama

The last post on this website was May, 2013. Almost a year ago.

Well, time to break the silence. It’s been a very busy and intense year, filled with both tribulations and triumphs, which is why Noise Jockey’s been on a sabbatical. But enough lollygagging. It’s time to get back to business.

Why now, after all this time? Maybe it’s the fact that some studio upgrades have me looking at audio anew. Maybe it’s because this week is the Game Developer Conference here in San Francisco, and my new office is only a couple of blocks away. Maybe it’s because I finally saw All Is Lost and played The Last of Us, both stunning artistic statements with some of the best sound work I’ve heard in a long, long time. Maybe it’s because I’ve been consuming gigabytes of new tunes that are changing how I look at music composition, genre, and sonic palettes. Maybe it’s just because all of you in the online sound community are good people and I’ve missed you all.

The audio fires are back in my belly. There are a bevy of new audio posts that are cued up and ready to roll. Good times ahead. I look forward to re-engaging with old readers, and starting conversations with new ones. So: I (re)welcome you back to Noise Jockey.

More very, very soon. Stay tuned.

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Milk Frother

Posted: May 16th, 2013 | Author: | Filed under: found sound objects, sound design

milkFrother

This thing was given to me as a Christmas gift. I immediately wanted to not froth milk with it, but to record it. With a hydrophone.

It was initially disappointing…until I put it into a metal pan and realized that its interaction with the pan, not the water, was far more interesting. The hydrophone was still in the water, but the frother was used in the water, inside the pan, and outside the pan as well, at varying speeds.


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

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Tunnel Rain

Posted: December 2nd, 2012 | Author: | Filed under: field recording, nature recording, sound design

“Construction 129,” a never-completed gun emplacement overlooking the entrance of the Golden Gate, Fort Cronkhite, Marin Headlands, California.

When a winter storm was forecast for the San Francisco Bay Area, I decided to head to the Marin Headlands and try my luck recording bad weather in the abandoned gun emplacements and military fortifications of Fort Cronkhite. I had previously found some great metal sounds at Fort Baker, also in the Headlands, and I was also inspired by Tim Prebble’s high-wind-sub-bass-generator post.

Unfortunately for me, the storm track was slower than predicted, and I wasn’t able to record in peak wind, although some moderate rain started to fall. Such things happen, even with the best of intentions. So, what do you do when your primary plan doesn’t pan out? You reset your expectations and record what you can. I mean, c’mon, I’m in these amazingly evocative ruins! Surely there’s something that’s audibly interesting!

So, I decided to record rain in the tunnels. A recent re-viewing of Ridley Scott’s Prometheus reminded me that tunnels and caverns in films often feature water drops that are drenched in heavy reverb. I pressed the “record” button in several settings and closed my eyes: Was I in the bowels of an ancient spacecraft? The Mines of Moria? The hull of a leaky, empty freighter?

The gun emplacement at Construction 129. No weapon was ever installed.

Occasional wind blasts forced me to enable a high pass filter at 120Hz to try to remove some of the ambient rumble that didn’t help the recording. In addition, there are no fewer than three foghorns in the Marin Headlands, so I had to make an edit every 50 seconds to eliminate the lonely bleat of the Point Bonita lighthouse horn.

There is always something worth recording. You just need to let your disappointment go, reset your expectations with some beginner’s mind, and just start rolling.


[Sennheiser MKH 30/50 mid-side stereo pair into Sound Devices 702 recorder]

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Review: NextoDI NVS1501 Backup Device

Posted: December 1st, 2012 | Author: | Filed under: field recording, gear

The Nexto DI NVS1501 is a burly, professional, and pricey way to back up flash media in the field without a host computer.

[Editorial note: This is an expression of my opinions about this piece of equipment. It was purchased and not provided by the manufacturer. I have no relationship with any company listed below.]

There aren’t many options available for in-the-field, no-computer backups for those of us recording to flash media, like Compact Flash cards, Memory Sticks, and SDHC cards. The most readily-available solutions are usually oriented towards photographers, focusing more on being digital photo albums than professional devices that makes our data more secure, and sometimes only accept JPGs, not arbitrary file types (like, oh, say, .wav files). Some devices, like the Sound Devices 700 series field recorders, will let you write to two pieces of media at once, but what about trips so long that you might need to reclaim CF card space? Or the other devices that we bring with us, like cameras, which can’t do that? Or the majority of trips that I take where carrying a laptop is more hassle or risk than it’s worth?

Enter Nexto DI, a little-known Korean manufacturer of field backup devices oriented towards filmmakers and cinematography digital imaging (DI) technicians. I decided to try the Nexto DI NVS1501 in its 500GB size as a field backup device for four specific pieces of media-capture gear, which could all be in my kit on some trips: the Sound Devices 702 field recorder, the Sony PCM-D50 handheld field recorder, the Canon 7D DSLR, and the GoPro HD Hero 2 POV camera.

Read the rest of this entry »

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How Tools Shape Our Creations

Posted: November 20th, 2012 | Author: | Filed under: theory

Randy Coppinger recently wrote a great blog post recently about not getting caught up in tool choices or being dogmatic about approach, and just focusing on the problem at hand, tools be damned. I couldn’t agree more.

This reminded me of a corollary to Randy’s thesis: The tools we use shape what we create.

While that’s perhaps self-evident, that’s not always a good thing. Tools can be creatively inspiring, but they can also become handcuffs, blinding us to better ways of working. Or, even more sinister, subtly changing our work to be something other than we intended.

If you’re a woodworker, what you can do without a lathe can be pretty limiting. Or a jigsaw. Or a coping saw. If you have all of these things, your creativity can be freed from many restrictions, since you are removing constraints upon your ability to execute your ideas. Such restrictions can really get in the way of earning a living in a crowded marketplace. A car mechanic, for example, won’t get a lot of work if he doesn’t have a hydraulic lift and an impact wrench.

So it goes with digital creative professionals. A visual designer these days can’t operate without a computer, and it’s a tough life without Adobe Photoshop. An audio professional can’t work without a DAW, and it’s hard to be competitive if you don’t know ProTools reasonably well. A field recordist needs microphones. And so it goes.

But microphones or recording techniques can have certain tonal characteristics, just like how raster artwork (e.g., created in Photoshop) looks different than vector artwork (e.g., created in Illustrator). It’s important to realize that the tool choices we do make aren’t always going to be neutral. Every tool choice imparts some color to our output. Rendering one’s idea in charcoal will be emotionally quite different than rendering it in pencils. Different sizes and shapes of chisels affect the texture of a sculpture. Capturing a sound with a Rode NT1a will sound different than with a Neumann TLM-103, even on the same material and from the same perspective, yielding different emotions and tones when listened to.

None of us can afford a warehouse of infinite tools…the Tardis tool shed doesn’t exist. But neither is poverty an excuse to not be aware of your tools’ influence on your work. Knowing the attributes of your microphones lets you know what you might want to modify and sculpt audio recordings in post, just as a woodworker might use fine-grit sandpaper by hand for those last touches that really give a piece the personality of the artist, not just the texture of his or her tool’s “fingerprint.” A person on a limited budget and constrained equipment can achieve greatness by adding tons of knowledge and insight. A metalworker with limited tools might only be able to create things of a certain scale, just as a limited-resource recordist might pick only certain subjects to record due to the limitatons of his or her kit.

Randy’s point is one that I absolutely agree with: Properly frame the problem and establish a conceptual framework for solving it, and let that dictate the tools you use. Don’t always rely on the old standards. Expanding this line of thinking, however, forces you to also look long and hard at the tools you use. Always be slightly suspicious of your equipment, which influences and colors what you create. That can be wonderful and enhance the source material. Or horribly inappropriate and lose the character of the original. But there’s a big difference between being conscious of those differences and being blind to their influence on your work. That way lies ambivalence, which I’ve written on before.

A common phrase on Jeff Wexler’s production sound forum regarding equipment versus the user goes something like, “It’s not the arrows, it’s the archer.” Knowing your arrows’ quirks lets you play with the results. And that’s where a creative professional moves from being an informed craftsperson to becoming an empowered artist.

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