Field recording


DPA 4060’s are really very good, but make sure you buy a pair of those furry windshields! Also really nice for binaural recording are the soundman microphones. You can also use them as spaced omnis but the cable’s not very long. I use them currently with an H1 Zoom. The output of the soundman preamp is line level, so I don’t have trouble with the zoom amps.
x gus


one other thing I thought to share, I’ve had a binaural head on loan for a while. I haven’t always found the right fit for location and content, but it can be interesting when it works. If you want to take a listen (with headphones!), hear below:


Another good option for binaural recording are luhd mics.


those look nice and way more practical (financially)

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Hi, I do a lot of field recording and use these Omni mics, very good price and a decent sound…

Jez Riley French told me that these are basically a cheaper copied version based on more expensive £600 products, they aren’t as good but you still get a good sound.

By the way I did a great Sound recording course with Chris Watson and Jez Riley French last year in the UK. They run them a few times a year and also do the occasional trip to Iceland
It was a good introductory course and led me to meet somebody on the same course and I am now recording a film soundtrack for him so its a good place to meet other like minded people as well.


I too like field recordings, both as they are and remixed like below.


Nice to hear some examples of field recording and compositions.

This is a bit of work in progress. I’ve been working on some new granulation techniques, specifically algorithmically triggered non-synchronous grains. This is an example using some recordings I made last autumn of tearing and crushing leaves - recorded very close, perhaps at 1cm or so. The granulation creates accelerating and decelerating patterns, which coupled with the recordings sound similar to insect stridulations.

This is 8-channels mixed to stereo:


nice, mark, to hear granulation using something other than plain old random distribution which is ok for bland textures. the patterning gives the whole thing a nice momentum. and leaves and twigs are a great soundsource -

not exactly field recording but…

x gus


If you dig this, anyone on the west coast should try to check out my buddy Tim Barnes who is touring out there with Jeph Jerman for a few more days. They do a lot of similar sorts of ‘natural’ improvisation :slight_smile:


Thanks, I know what you mean about the random distribution thing. I do love it for certain sources, but when I listen to more delicately composed granular tracks it feels there is so much more! Stuff like this (of course):

Nice to hear a new performance of that cage piece…


Nice, is this them:


Indeed. I’ve been a huge fan of both separately and now together. Tim moved here to Louisville and we’ve become pals and sometimes collaborators. He’s a fantastic force who is endlessly inspiring. Check out Jeph’s solo work too for more nature music.

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that curtis roads piece is great. I guess when you get into random you start to hear all the different flavours of random, and working on such a micro-level you can really play with it. actually the Curtis Roads reminded me of a Bernard Parmegiani piece, Matières Induites which is part of De Natura Sonorum. Except he’s using tape techniques and field recordings instead of computers I imagine seeing its from 1975!

that bit that i mean starts about 29.40

also I found this… off topic but…

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i use a zoom h2 with rycote handler since the zoom is fully plastic and not to be held without not hearing the plastic =). its definitively small and stealth so you can record in public places. i use it in a william burroughs context. always 96K/24bit and MS recording for great results.
im fascinated by this. kirkegaard is feedbacking the recording with said room, like burroughs did


what is a ‘william burroughs context’ ?


Burroughs discribed his stealth recording and playbacks in his book the electronic revolution. eg. hanging out in a café recording ambiance unseen by the guests and returning the next day playing back the recordings from yesterday also unseen. he finalised his experiments saying that after a month of stealth recording/playback a place, people wouldnt come back =) frankly i cannot see him do that very stealthy by the end of the sixties-nagra?tiny speakers?..but these new machines are stealthy like nothing else. i use live recording/feedback when i improvise live, ppl never want to hear themselves and back away from the micro-therefore burroughs context.
most people know burroughs’ sound experiments through his cutup techniques, these are creepy as can be as well. field recordings can be very creepy. there is a wonderful chris watson recording of haunted places.


thanks for your explanation.
i’m very curious to hear more of these recordings.

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Hi, I just seen this now, you tried to respond but I never seen the message? Give me a shout if you have a question etc…?


I just wanted to say that i’d love to be part of a workshop with chris watson-maybe 1 day


Hi all, as it happens I’m in the process of putting together a 4x1 hour radio mix/documentary about field recordings for my local community radio station (RTRFM in Perth, Australia). I’m most interested in people taking field recording in new directions, conceptually shifting away from that banal cliche of the lonesome dude who retreats from the city to stick his mic out somewhere exotic and touristy. These articles in the Wire, one by Salomé Voegelin and one by Derek Walmsley, best describe my grievances with the culture of field recording today. Maybe I’d share some field recordists doing really interesting things? Maybe you can share some with me?

Christopher DeLaurenti: visceral lo-fi recordings of protests

Adrian Rew: Slot Machine Music

Toshiya Tsunoda: Scenery of Decalcomania

Alvin Lucier: Sferics

Jana Winderen: Out of Range

And I love this text/photo/web/fieldrec piece: