evertveldhuis wrote:
> Shaun,
>
> Instead of answering your Cool Edit questions directly, I hereby
> provide you some usefull links.
> I suggest you take a look at ALL of them. The content of them varies
> but all of them are very, very, usefull.
> The general links are also usefull for all other newbies no matter
> what software they use, the ones below are specific for Cool Edit.
> Perhaps the moderator can put some of them in the links section of
> the Yahoo page?
Note, however, that all of this stuff, all of it, is about recording
music, or copying existing music recordings. In that world, being out in
the field means being in some other building than your studio with it's
carefully constructed, built in multitrack system. Being limited to a
"portable" system. And note that portable still plugs into a wall
socket. And more and more is still multitrack and takes a truck to carry
and a crew to set up.
And music recording is a highly defined endeavor with it's own
interesting rituals. It has a audience that was trained on what good
recordings were some time back by the equipment available back then. It
has a strong tendency to proclaim it's particular brand of distorted
sound as the perfect sound, and the techniques it uses as the only
"professional" ones. Nearly all quality microphones and recording gear
are designed for perpetuating that sound. Or the subgroup of movie sound.
Real field recording, as in nature recording, can use some of what these
folks have learned, but some of it will simply not apply, or be hugely
impractical. We are mostly forced to make do with equipment designed for
that. Luckily the television medium contains segments that are fairly
mobile.
What is needed is similar info and discussions that's nature recording
specific. We need our own rituals, not borrowed ones.
For those of you who are studio oriented, limit yourself to one portable
battery operated recorder plus mics and supporting supplies, your entire
kit you have to be willing and able to cart through the brush and swamps
a few miles or weeks without resupply or a crew of helpers. And process
it all the way to final CD using one relatively inexpensive computer.
Then look at how you can still get good recordings. That is the world of
nature recording for nearly all.
It's quite a different world. Especially as the subjects don't take
orders, won't come to the mic, don't wait while you fiddle with gear and
so on. In fact you arrive with a truckload of studio gear and start
setting up and they will most likely leave, or change what they are
calling. And the "building" acoustics were not engineered by man and
often change by the minute or the foot you move in a manner that's not
predictable. And man is certainly doing his level best to intrude on the
sound you are trying to record. The sound is not generally produced from
a defined area or stage, though some do that. Often the sound is
produced by performers on the move, or completely inaccessible ones.
And the audience you record for thinks all frogs go ribbit! And the
little birdies go tweet!
That being said, people like Bob Katz are well worth hearing from, just
as food for thought. Though by the sound of it he would have real
problems mastering from the usual nature recordings.
Walt
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