Field recording and sample treatment tips

[unclecheeks]

Can I ask, what is your favourite 32 bit float recorder? I'm in the market for something, with price and portability being important.

I frankensteined a compact stereo mic setup with the Zoom F3 which records in 32-bit and is TINY!… I haven’t done a ton of field recording with it but what I have recorded sounds great. Also records up to 192k. Might be worth a look!

(Yes, those are flower pots for the “blimp”)

 

[unclecheeks]

In his coiffure.

 

[Solarsentinel]

In his coiffure.

Looks cool!

 

[Solarsentinel]

I have a question please:
When you are recording, do you set your gain in sort of that peaks source won't go above-6db, or that the main volume of the source won't go above -6db?

 

[fakemaxwell]

It doesn't matter if the true peak db level of your recording is -.01 or -12, it will work the same in the edit. However it's unlikely that you're going to be perfect with your gain settings in uncontrolled environments, so it's better to be conservative unless you're purposefully trying to hit compressors/limiters or clip.

I'll usually aim to have peaks average about -10db, it's close enough to a level where I don't run into too much danger of overs while still being loud enough to work decently well while editing with zero processing. If it's just for your library do whatever you want, but if you're handing off recordings you want to be aware of who's going to be working with them next.

This is unscientific but with good gear I'd be fine with getting tracks down at -40db (assuming 24-bit), and depending on the source probably even lower. Bad gear has much less leeway with regard to noise.

 

[Solarsentinel]

It doesn't matter if the true peak db level of your recording is -.01 or -12, it will work the same in the edit. However it's unlikely that you're going to be perfect with your gain settings in uncontrolled environments, so it's better to be conservative unless you're purposefully trying to hit compressors/limiters or clip.

I'll usually aim to have peaks average about -10db, it's close enough to a level where I don't run into too much danger of overs while still being loud enough to work decently well while editing with zero processing. If it's just for your library do whatever you want, but if you're handing off recordings you want to be aware of who's going to be working with them next.

This is unscientific but with good gear I'd be fine with getting tracks down at -40db (assuming 24-bit), and depending on the source probably even lower. Bad gear has much less leeway with regard to noise.

Thanks for these tips. I ll try to test this!

 

[Solarsentinel]

Like Tim and many many others I use RX for editing. I am a (retired) scientist and think of recordings as data - you always keep the raw data safe and only work on backups. - Storage is relatively cheap - almost always much cheaper than ruining a recording and having to go back to wherever you made it and make that recording again.

I will toss in some more mics similar to the LOM - which I also use and like. But I have used the Clippy too and they are excellent value

Clippy XLR EM272Z1 Matched Stereo Pair

Matched pair of Clippy XLR EM272Z1 microphones, perfect for Stereo Recording High sensitivity omni-directional low noise Balanced XLR output Requires Phantom power 12-48 volts Also available as a Mono mic and Four matched mics MicBooster · Suburban Evening Birds, Clippy EM172 XLR

micbooster.com

and these get pretty good reviews as well. I have not used these yet but probably will get some one day https://immersivesoundscapes.com/

re omni and cardiod recording - you can often find natural barriers to place between the mic and a noise source that you dont want (like a motorway). I sometimes use my car as a baffle I got a great recording of cars moving slowly in a wet gravel carpark using this 'boot array' to block the noisy market attached to the carpark

Recording cars like that is a good idea, but if you have an handy recorder how did you manage to fix it in the car to prevent the shock s noise coming from the rumblings of the car through the recorder?
I hope my sentence is clear enough...

I think fixing the recorder on a tripod isn t a good solution because it will fall at every turn and fixing the recoderder with a tape won t prevent the rombling throught the recorder... am i wrong?

 

[yydr_cc]

Recording cars like that is a good idea, but if you have an handy recorder how did you manage to fix it in the car to prevent the shock s noise coming from the rumblings of the car through the recorder?
I hope my sentence is clear enough...

I think fixing the recorder on a tripod isn t a good solution because it will fall at every turn and fixing the recoderder with a tape won t prevent the rombling throught the recorder... am i wrong?

my car was parked, I left the recorder going while I went shopping in the markets. It recorded the nearby cars going past, turning slowly and parking
When I got back from shopping I opened the boot, stopped the recorder and got it out

 

[Solarsentinel]

my car was parked, I left the recorder going while I went shopping in the markets. It recorded the nearby cars going past, turning slowly and parking
When I got back from shopping I opened the boot, stopped the recorder and got it out

OK! I thought it was on road
Good idea btw, i have to tried that too!
Thanks!

 

[timprebble]

Recording cars like that is a good idea, but if you have an handy recorder how did you manage to fix it in the car to prevent the shock s noise coming from the rumblings of the car through the recorder?
I hope my sentence is clear enough...

I think fixing the recorder on a tripod isn t a good solution because it will fall at every turn and fixing the recoderder with a tape won t prevent the rombling throught the recorder... am i wrong?

once you decide where to place the recorder for the perspective/image you want, I would gaffer tape it in place with some foam underneath to absorb any bumps. If its not your car be careful removing gaffer tape as no one will thank you if you remove paint or leave marks on the seat etc...

 

[Solarsentinel]

once you decide where to place the recorder for the perspective/image you want, I would gaffer tape it in place with some foam underneath to absorb any bumps. If its not your car be careful removing gaffer tape as no one will thank you if you remove paint or leave marks on the seat etc...

Good idea! Some foam with the recorder attached on it with tape placed on a seat would done the job
I have to try this with two mics taped on the car s door.
I always wanted to record the sound of a tire passing by a road s White line.
But with the wind it will be hardware, but by incident the car i think it is possible.

 

[Solarsentinel]

Just see that,
Sennheiser just announce the New MKH 8030

MKH 8000 Series: Superior Sennheiser Microphones - Sennheiser

Experience Sennheiser's MKH 8000 series, a line of reliable, durable and highly sensitive RF condenser microphones that capture sound authentically.

www.sennheiser.com

 

[timprebble]

Just see that,
Sennheiser just announce the New MMKH 8030

MKH 8000 Series: Superior Sennheiser Microphones - Sennheiser

Experience Sennheiser's MKH 8000 series, a line of reliable, durable and highly sensitive RF condenser microphones that capture sound authentically.

www.sennheiser.com

yes!
A lot of people have been waiting a long time for that... eg I got my 8040 matched pair December 2011, soon after they released the 8020, 8050, 8060, 8070... but thirteen years later they release the 8030... They are such tiny mics:

 

[Solarsentinel]

A little question :
Which type of tripod do you use for field recording (ambience recording) ?

 

[timprebble]

A little question :
Which type of tripod do you use for field recording (ambience recording) ?

I use Manfrotto stands, they are quite light & pack down small for hiking...
Mine have been all over NZ, Japan, Samoa, PNG

smaller mics - Manfrotto 156BLB

Black Aluminium Low Mini Pro Stand

Robust, practical and portable. Our Low Mini Pro Stand is the solution for photographers working in confined spaces. A fantastic alternative to bulky boom systems, this stand is an indispensable companion. Ideal for use with background lights, it has been manufactured with strong, lightweight...

www.manfrotto.com

big mics - Manfrotto 5001

Nano Lighting Stand, Black

Lighting equipment such as LED lights and flash are all getting smaller, lighter and more portable, so the travelling creative whether they shoot photography or video needs a light stand that is smaller and lighter too. If you need to travel light with just carry-on luggage, lightweight during a...

www.manfrotto.com

I've been asked so many times I wrote a blog post with links

Current Field Recording Setup – HISSandaROAR

 

[Solarsentinel]

I use Manfrotto stands, they are quite light & pack down small for hiking...
Mine have been all over NZ, Japan, Samoa, PNG

smaller mics - Manfrotto 156BLB

Black Aluminium Low Mini Pro Stand

Robust, practical and portable. Our Low Mini Pro Stand is the solution for photographers working in confined spaces. A fantastic alternative to bulky boom systems, this stand is an indispensable companion. Ideal for use with background lights, it has been manufactured with strong, lightweight...

www.manfrotto.com

big mics - Manfrotto 5001

Nano Lighting Stand, Black

Lighting equipment such as LED lights and flash are all getting smaller, lighter and more portable, so the travelling creative whether they shoot photography or video needs a light stand that is smaller and lighter too. If you need to travel light with just carry-on luggage, lightweight during a...

www.manfrotto.com

I've been asked so many times I wrote a blog post with links

Current Field Recording Setup – HISSandaROAR

Thanks, i'll check that