#1011

Worth being on the WFAE mailing list to hear of offers, talks etc btw…

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#1012

Hello! I’m new here, but a long time lurker, but finally decided to sign in and contribute to this nice community!

I got around 500 Euro available in the near future to spend on Field Recording gear to update my current setup (a simple Olympus LS-5), but I wanted to ask you for an advice.
I’m a bit torn between the options regarding microphone-type, meaning directivity, channel count and specific models.

I got an academic background, dabbling with acustic ecology, R. Murray Schafer school, but I want to employ field recordings more as sample-fodder for more pop-like music, thinking Techno, dancable stuff, granular, Supercollider, Octatrack mangling but still with ties to a documentary approach.
I want to use a Motu Ultralite AVB with an iPhone and powerbank as a recorder, so I got 2 preamps and 6 line inputs.

I always had a problem with wind noise in the past, so I consider a Blimp as a must and was thinking about maybe a Sennheiser MKE600 shotgun mic.

My main question is now: How do you guys get along with just a mono-mic in context of field recording?
I was always fond of MS-recording in a musical context, drums for example, does anyone got experience with combining a shotgun mic with a figure-8 (Maybe a simple, DIY figure 8 electret capsule) to get a bit more ambiance, available to taste in post-processing?

Or would I be better at just getting maybe a used pair of Okatava 012s with 3 different capsules each?

I also got a Beyerdynamic M160 hyper-cardioid ribbon in my mic-locker, but I’m guessing this wouldn’t be really sufficient for field work, mounted in a Blimp?

So…a lot of text, I know, but thanks in advance for any hints, advice or anything.
Greetings, Tilman

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#1013

mono is a perfectly valid way to collect sounds, especially if it’s to isolate close-up material to be used as percussions, textures basis, etc.
The M160 could be great for that purpose. (I don’t own one but it’s been on my list forever). Given enough gain (something like cloudlifter/fethead may be needed for additional gain) and proper wind protection, i would try that before buying another mic, and see how it sounds.
If you envision using M/S in the field, then buying a nice hypercardioïd can be a first step before investing in a figure-of-eight later (though there are not many solutions for portable mics with that pattern, let alone affordable ones.)
A pair of Oktava is probably in budget and would give more options (various couple setups, spaced omnis…) I only have one (hypercardioid capsule) which i don’t use much these days. Keep in mind, wind protection and suspensions are not cheap and not really optional.

#1014

You got me thinking about trying out the M160 and getting proper Windscreen/Blimp/Pole first.

I really love the M160, I tried it so far on Drums and as a Room Mic M/S with a cheap figure-of-eight Ribbon on a standard-loud Rock band with classic instrumentation. It has the typical good transient-response but doesn’t sound that dark as other ribbons tend to be, so I can totally recommend this mic.

I also remembered that I just recently worked with a DPA 4099 as a Room/Spot Mic in live-Theater as amplification for a certain area of the stage, where actors spoke soft, which I really loved in terms of uncoloured sound even with the back-lobes, so that would be also a compact, flexible option.

I think mono-fieldwork might be a good option for me, also in terms of more conducting and searching sounds, which means movement with the mic, something that’s difficult with a handheld recorder, 'cause of handling noises.
Thanks!

1 Like
#1015

The more directional the mic (like a shotgun), the more off-axis coloration will be present. Whenever it’s feasible, I prefer using omni’s or wide-ish cardioids. I record in stereo because I incorporate the recordings into my music, and the stereo image adds a nice dimensionality to the sound, and leaves you with more options for processing. I always recommend a pair of the LOM Usi Pro mics, since they’re inexpensive and high quality. The Wind Bubbles LOM offers for the Usi’s are ok for light breezes. I’ve come to appreciate the advantages of keeping your recording rig as small as possible–a large mic in a larger blimp isn’t much fun to haul around.

2 Likes
#1016

Ok, now I got two different opinions :smiley:
I think I’ll try my current super-cardioid and to get closer to the source with a proper blimp first.
But I didn’t realise, that the LOM Usi Pro are that inexpensive and might be a cool addition to a mono-mic approach.
How far do you space the omnis apart by the way for field-stuff?

I know there have been a lot of recommendations for books in the thread already, but I’m a bit lost: Can someone point me to a book, covering the technical side of micing in connection with field recording?
A lot of stuff I’ve read in the past was either more inspirational, about the “philosophical” side, or about the expensive side of movie-location recording.

2 Likes
#1017

You might look at

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#1018

The Usi Pro’s are sold in pairs for 120 euros (plus 40 for a pair of wind bubbles)–so you have the option for mono or stereo. With omni mics, you usually want to space them at least 18" apart. Here’s a link to a brief guide on stereo mic techniques.

https://www.sweetwater.com/insync/7-stereo-miking-techniques-you-should-try/

I don’t know of a good book, but there’s a lot of information online about field recording.

4 Likes
#1019

I’m excited to share a project I began last year that I largely forgot about until I pulled a sample from it for a recent track. I recorded 45 minutes of audio inside Omaha’s Joslyn Art Museum. It has some truly awe-inspiring reverbs, and I particularly love how it amplifies and compiles sounds from all across the building.

I recorded this project with a pair of Lom mikroUši’s and a MixPre-6. The mics were clipped to my shoulder and the recorder was carried in a fanny pack at my waist. I still am slightly surprised I wasn’t kicked out by staff due to my ridiculous appearance alone but I was given no trouble.

EDIT: I just realized I left in a bit of audio where I’m sniffing and fiddling around with my pack. It’s been removed and the file has been replaced, the link should still work.

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#1020

Oh my God, you’re not joking about that reverb…just beautiful!

1 Like
#1021

Lovely. I also came across a passage that might resonate with people here, particularly the beginning, in Grossman’s Stalingrad

image
image3024×4032 2.66 MB

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#1022

Wow. I absolutely adore that first sentence. Perfect. Strongly resonates with some recent thoughts I’ve had lately and struggled to express through my writing. :slight_smile:

1 Like
#1023

I’m about to invest in a new field recorder. Have been using an old Roland/Editor for many years but now its time to upgrade. For a long time I thought that I should buy a Sony PCM-D100 but lately I have been thinking about getting a Sound Devices Mixpre-3. However I’m not sure if this is the right choice. I will not use it for videos. I only record sounds. Field recordings, sound scapes and other things that I either use on their own or manipulate in my modular. I use all types of microphones, contact mics, hydrophones and electromagnetic sensors.

The PCM-D100 is smaller and easier to carry around. It’s been around for years and known to be a great recorder. But no XLR and perhaps it’s stupid to buy a machine that is this old.

The MixPre get’s great reviews. The 32bit float recording looks interesting. That machine could probably last me years. But it’s more expensive, perhaps more “difficult” to carry around even though it’s small. And frankly I’m not sure if it’s more than I need.

Any experience, knowledge and guidance would be much appreciated.

1 Like
#1024

I was in the same boat as you and settled for a Tascam DR 100 mkIII. I think it’s a great buy, especially now that they’ve come down in price. I use it with a pair of USI mics and it makes for a really solid and portable travel kit. I thought long and hard about the Mixpre 3 as well, a lot of pros to that one, but I couldn’t justify the price for what I would use it for and a big part of me would have regretted not getting the Mixpre 6 to double up for my studio needs.

1 Like
#1025

was in a similar boat and “settled” on the d100 which let me get some external mics i wanted and stay in budget (picked up lom usis and jrf hydrophones/contact mics) - i’m very pleased

#1026

I’ve used a MixPre 6 for very similar uses–in fact I was just out recording with a hydrophone yesterday. The MixPre is one of the most useful pieces of sound gear I own, and I completely recommend it. The MixPre 3 is light and small–almost tiny, so I wouldn’t rule it out on that account. The preamps have a ton of ultra clean gain, so it’s happy with any type of mic plugged in. The build quality is rock solid, and the features cover any field recording use. It’s a joy to use in the field.

2 Likes
#1027

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#1028

I want to share some points of view that not everyone would consider in the first place.
First you need to think about how to carry it when you get the recorder, i.e.

Add a Rycote handheld shock mount plus a grip on PCM D100, or
you record mostly on a still location, a decent tripod is required, surely both options need a windshield

If you get the Mixpre, you might put it in your backpack or messenger bag, a short cable for a mic, pistol grip, and windshield. etc.

I say this because there are more things need to be considered than a recorder itself. To me, I once had a DR 100 Mk III, with said accessories. Eventually it broke after 6 months, then I got the Mixpre 6, I realize that both of the setup times are identical.

5 Likes
#1029

I’m forwarding you this call. maybe someone is interested…

//

Contribute to a 24 hour radio broadcast of the sounds of daybreak, live on International Dawn Chorus Day 2 to 3 May 2020

REVEIL
CALL FOR STREAMS, RADIOS
SATURDAY 2 to SUNDAY 3 MAY 2020

The 7th Reveil broadcast will run from 5AM London time UTC+1 on the 2nd of May until 6AM on the 3rd, over the weekend of International Dawn Chorus Day.

Help create this annual 24+ hour transmission that loops the earth at sunrise, traveling on live environmental sounds shared over the internet. Send us a stream or relay the transmission through your radio networks.

Streams can be transmitted using a mobile app, a laptop or a Raspberry Pi. They can be set up at little or no expense, and we can provide detailed support for those getting started.

Reveil is assembled in a temporary radio studio at Stave Hill Ecological Park in London. Streams are hosted on the Locus Sonus soundmap. Reveil’s primary mountpoint is provided by Wave Farm in Acra, New York. Our UK broadcast partner is Resonance Extra. We invite FM and net radio stations to pick up and relay the broadcast in full or in part.

Reveil acts as a hub for a growing network of live ecological sound artists, activists, technologists, DIY broadcasters and researchers. Over 7 years, Reveil has brought together practitioners in the fields of ecological and transmission arts, as well as terrestrial and marine bio- and ecoacoustics.

Many contributors return to this project annually, providing a core of sounds up and and down the latitudes. Each year we also welcome new feeds from places we have never listened to before. Each stream adds to the detail and diversity of the mix.

For information on how to contribute a stream to the Reveil broadcast, please start here:
http://soundtent.org/streaming_recipes.html

To register your interest and with any questions, please email:
contact at soundtent.org (http://soundtent.org/)

Many streams come from soundcamps: sustainable micro festivals across scales. Listen out for the forthcoming call for soundcamps.
@soundtent to stay in touch.

soundtent.org
#Reveil2020 #acousticommmons

Reveil / Soundcamp is part of Acoustic Commons, a Small Cooperation project funded in part by the Creative Europe Programme of the European Union. Partners are FON (Cumbria), Locus Sonus (Aix-Marseille), CONA (Ljubljana), TEI/HMU (Crete) and Cyberforest (Tokyo). Soundcamp activities in the UK are supported by public funding through Arts Council England. Thank you.

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#1030

As much as I’d love to have one of the new Mixpre IIs, a friend put a gently used Zoom H6 with carrying case and accessories up for sale to help fund an upcoming trip, so I’ll be picking it up from him soon. The H6 will be for modular recordings as well as my intro to making field recordings, which will include pickup up some LOM products and eventually buying a hydrophone for some water recordings I’ve wanted to do for years.

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