Hi Bernie and all,
Thanks Bernie, I'll try the h-phones-attached-to-log method next
time, as recent developments indicate I may need to do it
differently:=20
I hear from the studio engineer in Hilo that "All sources [of log-
moving audio] should be done raw mono 48 khz; in the mix, we can
determine pan scenerios, levels, effects, and so on..."
I'm up against my lack of studio experience here, whereas this
engineer has wide experience in studio mixing, but only for music.
I'll likely give it over to him to make the most of it his way, but
also do the mixing here in my studio and compare the results to his.
I guess one question is: If I record in stereo as planned and save
the file in mono to send to the engineer, is the result the same (to
him) as recording in mono originally?
Wouldn't a studio engineer have more flexibility if he starts with
stereo? Isn't the use of extensive panning to create "fake" stereo?
Thanks for any guidance that would put me on a better footing in
these "negotiations"--most important to me is to create the best,
most credible illusion for the exhibit, and to represent my work in
the best light. Manipulating mono to sound like stereo aint it.
Aloha,
David
--- In Wild Sanctuary <>
wrote:
> You're welcome, David. Actually, I have a confession to make. With
> several hours of dune recordings made since 1984, I mistakenly
ID'd
> the one posted as a later one at Kelso, but it turns out to be an
> earlier version done with a pair of PZM (pressure zone mics)
mounted
> on a sheet of clear plastic...hence the sound of the ravens in the
> bkg. The h-phones were a later addition and provide a substantial
> gain in low frequency (assuming the ability of the recorder to
> capture it).
>
> You might try attaching the h-phones to the log w/ bungie cords so
> that it acts as contact mic. That sometimes provides a wonderful
and
> surprising result. I once did that to record a pileated woodpecker
by
> binding the h-phone to the trunk of the tree it was hammering and
> began recording. Got the entire resonance of the tree and some
detail
> otherwise not possible with any other type of system.
>
> Good luck with the installation.
>
> Bernie
>
> >Thanks Bernie, the Kelso dune recording really makes me grin. I
wonder
> >if the Raven at 9 and 24 sec. hears and responds to dunesong. How
far
> >apart are the mics?
> >
> >I'm using your suggestion, Bernie, of buried hydrophones for low
> >freq's, in one of my current projects: For an installation in Hilo
> >(the Mauna Kea Astronomy
> >Education Center, opening Dec 05), a combination of a forest and
> >cultural exhibit. One scenario is hauling a Koa log down thru the
> >forest, with chants and commands of native Hawaiian canoe
builders,
> >and native forest birds, to accompany. I already have the bird-
song
> >audio, the human voices we are doing in a studio in Hilo, to be
mixed
> >with the log-hauling sounds, which I am doing here on Kaua'i in
quiet
> >Koke'e, (working at night to avoid unwanted sounds of alien
birds).
> >
> >I'm using a 20 foot, one-ton log to try to produce a passable
audio
> >simulation of a moving 60 foot mega-ton Koa log (There is a lot of
> >downed Koa here from Hurricane Iniki in '92). I've got a large
block-
> >and-tackle with 150 feet of 6000-lb-test line to move the log
down-
> >slope. Mic'ing is MKH-20's in modified SASS (Thank you Walter)
> >recording to Portadisc, with parallel buried hydrophones in zip-
loc
> >bags recording to Mzr50.
> >
> >This is my second attempt--the first one with just the SASS didn't
> >yield enough low frequency sound--so I'm trying the hydrophones.
Hope
> >this works.
> >
> >Aloha,
> >David
> >
> >
> >
> >
> >
> >
> >
> >
> >"Microphones are not ears,
> >Loudspeakers are not birds,
> >A listening room is not nature."
> >Klas Strandberg
> >Yahoo! Groups Links
> >
> >
> >
> >
>
>
> --
> Wild Sanctuary
> P. O. Box 536
> Glen Ellen, CA 95442
> t. 707-996-6677
> f. 707-996-0280
> http://www.wildsanctuary.com
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