Here are some exciting Pickle Ball sounds that I caught on my walk the other day with the Sennheiser Ambeo headset.
Pickle Ball

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I had to google what Pickle Ball was/is but I listened and now I feel like I’ve experienced it too

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Amazing; never heard of pickle ball either and as such had never heard this sound before - really cool and following.

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Ambeo sounds great, cool recording!

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A storm came through last night and I had time to hang out on my porch and record a bit of it along with my chimes (again using the Ambeo headset)
Storm & Chimes

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Thanks for a great article. I have a couple of Jez Riley French’s hydrophones. Great for recording the dogs jumping in the swimming pool. For phantom power I run them (the stereo hydrophones, not the dogs) through this matchbook-sized Pulp Logic phantom power/pre-amp.

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They are great mics! That said I run mine without Phantom power using the impedance converters Mr. French sells. I cannot tell a difference in sound and it saves some battery.

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These impedance converters you mention are intriguing. A quick google search didn’t yield anything. Any suggestions on where I might find such a thing? I’m always open to finding a new/easier way to do things.

https://jezrileyfrench.co.uk/xlr-impedance-adaptors.php

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Thanks so much. Probably should have known that already since I have his hydrophones.

No worries, I do remember them saying what they are with a printed label, (maybe made from Hosa?) but as I am on vacation now I can’t check it. Also it is nice to support someone who makes great stuff like Jez by buying them from him :slight_smile:

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I’d like to start using field recordings in my music, and I could use some ideas! I have a cheap zoom recorder with decent quality and plan on working with them in my ER-301. Apologies if this has been asked before…

  1. Which types of field recordings do you use?
  2. How do you use them, including how do you process them, do you use to extract triggers (envelope followers).
  3. How would you describe their ā€œroleā€ in the music (atmosphere, rhythmic, loops, or…)?
  4. Music I should listen to for inspiration, including your tracks?
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There’s an existing thread about field recording with a lot of good information:
https://llllllll.co/t/field-recording/4644

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Yeah, I saw that, but it seems very centered around which recorder (aptly tagged ā€œequipmentā€), I was hoping for more ā€œprocessā€ oriented input.

I’ll go through that thread again, though, maybe I missed something…

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I’ve thought abt having a process field recording thread before for about the same reason. huge part of my personal practice but I pretty much just use a zoom & don’t care much about quality, so not super drawn to the other thread but also haven’t scrolled through much.

anyway, re: process a huge eye opener for me was pitching down anywhere between 0.5 - 0.125 and wide bandpass filtering, so your highs become your lows and everything is much slower. works well for busy noisy recordings you might not end up using otherwise.

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Thanks! That’s exactly those kind of starting points I was hoping for! Will try this out immediately!

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classic technique.

yeah playback speed and eq/filtering is gonna quickly bring out new elements, anything that affects perception of the material. i mostly use my v1 microgranny to playback mildly treated field recs, slowed down ofc, and let the weird formatting for that device do the rest.

heavy fft-based eq’s are good for finding crazy narrow bands (i’ve got a buried work using field recs from costa rica where the soundfield is insanely dense) - i’ve still got a functional NI spektral delay that is always great for turning things into new things.

delay is a little static but if you have any novel time based effects on hand (may i rec sonic charge permut8 for this), give it a shot.

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one technique I had quite a bit of fun with was quantising field recordings in Ableton Live using the ā€œbeatsā€ algorithm and then playing around with the Transient Envelope setting. That way you can transform the field recording into percussion sounds.

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i use field recordings as backgrounds to pretty much everything i make, but especially ambient + electroacoustic songs. sometimes the field recs are given the same focus as the melodies themselves. for example, skydance: the bird sounds naturally, gradually come to the foreground as dozens of hummingbirds in the eucalyptus grove surge into joyful, noisy squabbling at the same serendipitous moment.

i record local nature sounds: birdsong, wind and leaves, rainfall, trickling streams, shuffling footsteps across a dusty trail, ocean waves. these are memories of a specific time and specific place, and they help bring home the other instrument sounds in the song. i put them all together to convey to the listener what it was like to be in that one place at that time of day or night, and all the beauty of the natural world around it.

i generally do some light EQing in software, using the basic ableton live EQ8. most of my sounds are recorded in busy urban or suburban environments, so i have to be careful about noise leakage from the world outside the nature preserve. i usually spend awhile listening before pressing ā€œrecordā€ on my H5; asking myself questions like ā€œis there a prevalent unwanted noise source direction (traffic, planes),ā€ ā€œwhat frequency is that noise; does it overlap the desirable nature sound too much,ā€ and so on. so i’ll know where i need to aim the mic capsule, and how close i’ll need to get, if i need to isolate certain sounds.

i generally try not to process the recordings at all; only doing very light subtractive EQ–anything too heavy tends to erase the fullness of the sound, as well as the specifics that made it memorable and special. when placed in a song, they’re left as-is, aside from perhaps editing for length. my goal is to share the wide-eyed wonder of the natural world, so i let the recorder run as long as possible, listening to how things change over time. i generally use just one or two of those recs in a song; ideally, one long uninterrupted recording that runs for the full length of the piece. though i might need to combine a few sessions from a fieldrec outing, if i was only able to get smaller bits and pieces that day.

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the noise concept is always super interesting. I don’t really view anything as noise personally. I’m always interested in capturing what I hear, even if it’s like cars mixed with birds or something.

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