Posted: April 21st, 2015 | Author: Nathan | 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.
Tags: desert, field recording, industrial, machine, sound effects, vehicle | No Comments »
Posted: April 25th, 2014 | Author: Nathan | 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.
Tags: field recording, noise, urban | No Comments »
Posted: April 16th, 2014 | Author: Nathan | Filed under: field recording, nature recording
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.
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.
Tags: ambience, field recording, water | No Comments »
Posted: April 10th, 2014 | Author: Nathan | Filed under: field recording
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 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.
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.
Tags: engine, field recording, industrial, machine, mechanical, vehicle, water | No Comments »
Posted: April 2nd, 2014 | Author: Nathan | Filed under: field recording, gear, sound design
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!
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.
Tags: audio equipment, digital audio, field recording, sound design, sound effects | No Comments »
Posted: December 2nd, 2012 | Author: Nathan | 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.
Tags: field recording, nature recording, rain, ruins, sound design, sound effects, tunnel, water | 2 Comments »
[Sennheiser MKH 30/50 mid-side stereo pair into Sound Devices 702 recorder]
Posted: December 1st, 2012 | Author: Nathan | 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 »
Tags: audio equipment, backup, field recording, review, travel | 3 Comments »
Posted: October 31st, 2012 | Author: Nathan | Filed under: field recording, sound design
Battery Yates, Fort Baker, Sausalito, California.
Over a year ago, I posted some scraping metal sounds from the steel doors of Fort Baker’s Battery Yates, right at the Golden Gate of the San Francisco Bay. I recently unearthed some metal hits from that same session: They’re heavy, resonant, and the concrete rooms behind them certainly lent the sound some nice air in the low end. (Read the previous installment if you want to learn more about this location and how it was recorded.)
And, since today is Halloween, the original sounds are presented in both their original form and pitched down by an octave for extra heaviness and spookcreeptacularness.
Enjoy the clanky, boomy fun…and happy Halloween!
[MKH 50 microphone into Sound Devices 702]
Tags: creepy, field recording, industrial, metal, resonance, San Francisco, sound effects | No Comments »
Posted: February 20th, 2012 | Author: Nathan | Filed under: field recording, nature recording, sound design
Look carefully: Deep impact zone, short period, wind parallel to the shoreline. Not a good day for recording single waves. So...what is?
It’s easy to get recordings of roaring surf – which can often just sound like constant white noise – but it can be tough to get relatively clean recordings of individual waves. I’ve found that picking a good day and place to record single wave hits are a combination of marine forecasts and location, and that the size of the waves really doesn’t matter.
The only online article I’ve seen that mentions both field recording and marine forecasting has been published by Tim Prebble. In that excellent article, he describes finding gentle-surf days to record his amazing Seal Vocals SFX library. Sometimes finding those small- to moderate-swell days are sometimes the best days to record single wave crashes…but that’s not the only factor.
Single-wave recording conditions are largely defined by a mix of swell, wind, and location.
Swell is due to the large movements of water over great difference; swell is not the same as waves, which are usually wind-driven. Swell is usually forecast based on buoys offshore, and is forecast days in advance. However, I find that 2-day swell forecasts are the most accurate. Swell is defined by wavelength and amplitude, just like audio: Wavelength is is measured in seconds (usually called period), and amplitude (usually called height) is based in feet or meters. Ideally, you want swell with long periods, because that means there’s a greater volume of water moving, but tall swell is also your friend, because that also influences breaking-wave heights at the shore. (Tip: Waves come in “sets” of big and small, between 3 and 8 waves each, depending on if there are multiple wavetrains that are in or out of sync. That means record for far longer than you’d otherwise think in order to get a good range of big vs. small waves over time.)
Getting back to the topic of wind, not all wind is bad (and we all know what wind does to field recordings: huge amounts of badness.) Offshore winds (those that come off of the shore – yes, that is totally confusing!) will might wave faces up longer than they’d be up otherwise, causing a moment of quiet before the wave breaks (or “closes out,” in surf parlance) and a potentially taller wave face. Wind coming onshore (onto the shore from the water) often smears the wave tops and can cause premature toppling…not to mention the fact that the wind will be blowing directly at your microphone capsules. (Tip: You can’t be at the shore without shorebirds, often noisy ones. Bird feeding activity, and therefore noise, may peak before an oncoming storm. Watch the forecast and choose clear weeks with low-pressure days, when it requires more energy to fly, when possible to reduce avian noise. Gulls are complete bastards in this regard!)
Finally, this brings us to location. Some of this is taste: Do you want to record breaking waves against sand, or against rock? Very different sounds will come out of each; bigger crashes will happen on rocks as opposed to sand. But beyond that, know a bit about your location. What direction is the swell and wind coming from, relative to where you’ll be facing? How does the land curve around, creating refraction waves? What is the slant of the land below the shoreline? This last one is especially critical, as the gentler the slope, the bigger the wave. The “impact zone” – where the waves actually break – can be deep or narrow, and a narrower impact zone will generate fewer audible breaking waves at once. Knowing if a beach has a “dumping break” is useful: It makes it terrible to launch from or surf near, but that also means the waves break right at the shoreline, which is far better for audio recording. Just watch out for your gear. (Not a tip, but trivia: Waves always break when the water depth is 1.3x to 1.5x the wave height, as the horizontal energy of the swell gets forced upwards to create breaking-wave heights near shore.)
Never turn your back to the sea. The sea is huge, powerful, indifferent, and above all, unpredictable. Rogue and “sneaker” waves are not legends or myths: They occur regularly, anywhere in the world. Don’t let a recording session end in tragedy.
A final note on technique: If you’re on a beach, angle the mic a bit more downwards than you’d think would be wise, and you’ll get nice sounds of the sand being pulled back as the breaking waves recede back into the ocean. Not always good to have in every recording, but this adds a lot more character. On a beach with fist-sized rocks, this can be especially cool!
I had a recent session at a sandy beach in the Point Reyes National Seashore that exemplified some of the better (but not quite perfect) conditions that I describe above. First, the wind was blowing at 20 knots…but from the opposite direction of the beach I was on, which was backed by hills. That meant delayed wave breaks and being protected from the wind. There was a southerly swell that came right into the dumping-break beach (I can tell the period is averaging 14 seconds by looking at the waveforms of the audio!), so it was all breaking swell and no wind-driven waves. It was a low-pressure day with a long-term clear forecast, and it wasn’t winter, when the masses of migratory birds come through Northern California. Only one swallow’s call made it into the recording.
The recordings aren’t all that dramatic when you consider the breaking waves were only 3-4′ high. But listening to this loud on headphones, eyes closed, I find that the sense of scale is quite exaggerated without an accompanying visual reference…a little Waves LoAir or layering some low-frequency booms can definitely can tip it into cinematically-big breaker territory if desired. However, even in a 90-second clip, there are only three really distinct wave “claps” as the bigger waves close out at the beach.
[Sennheiser MKH 30/50 mid-side stereo pair into Sound Devices 702 recorder]
Tags: field recording, nature, nature recording, ocean, sound design, sound effects, surf, water | 3 Comments »
Posted: August 2nd, 2011 | Author: Nathan | Filed under: field recording, sound design
Rusty? Heavy? Covered in graffiti? You KNOW it will sound good.
Many people are unaware that the San Francisco Bay Area was once thoroughly fortified against attacks from the sea. Remnants of this past dot the entrance to the Golden Gate, in the form of bunkers that once housed gun emplacements.
One such installation was Battery Yates at Fort Baker. Located at the best vantage point for southward-facing photos of the Golden Gate Bridge, Battery Yates was meant for nothing other than picking off minesweepers that might try to get through the minefields inside the ‘Gate in wartime…minesweepers, of course, that would never come.
Battery Yates was active from 1905 through 1946. Now, only the U.S. Coast Guard maintains a station at Fort Baker, primarily for saving the lives of boaters and wind/kitesurfers. Now Battery Yates is a tourist attraction, is fun to scramble on and around…and, in swords to ploughshares style, is also a great source for cool sounds!
Each of the gun emplacements has four lockers, each sealed with a massive steel door. Some doors have outer latches that have been left to swing freely in favor of just welding the doors shut. These latches, rusted by more than 60 years of salty mist, are quite expressive when swung, manipulated, and otherwise mishandled. The perfectly square concrete rooms behind these doors caused them to have a lot of low end and resonance.
I decided to try my luck with recording some groaning metal effects on these doors, despite the fact that:
- I only had some time before work one weekday, which meant that…
- I could only record during rush hour, made worse by the fact that…
- The Golden Gate Bridge is only 1/8 of a mile away, plainly visible from the recording site.
All this meant lots of background traffic noise. I mitigated these risks by using a hypercardioid microphone for off-axis rejection of sound (a shotgun would have been a better choice in terms of pattern, but I just loved the sound of my MKH-50 too much to not use it), careful placement of the mic relative to the bridge (making sure that either the mic element faced away from the bridge or a thick concrete wall blocked line of sight), and the judicious use of the Denoiser plugin from iZotope RX. And, for effects like these, the small-condenser-mic proximity effect only helps!
The result came out pretty well, all things considered…although the editing in today’s post is pretty sloppy, so apologies for that. Everything was recorded at 24-bit, 192-kHz, as best befits complex groaning metal sounds, since pitching this stuff down can yield pure sound-design gold. I recorded even more massive metal hits from this session, which may be a topic for a separate post… (And until then, you can hear yet more heavy metal hits/impacts here, here, and here.)
Tags: field recording, groaning, industrial, metal, noise reduction, resonance, San Francisco, sound design, sound effects, urban | 4 Comments »
[MKH 50 microphone into Sound Devices 702]