From: "Graham Evans"
> I really enjoyed those samples Walt.
>
> Were they taken with a binnaural setup?
Well, in a class by itself, but sometimes called pseudo binaural, they
were all recorded with my SASS/MKH-20 on the 17' tall tripod:
http://frogrecordist.home.mindspring.com/docs/mod_sass.html
http://wwknapp.home.mindspring.com/tall.tripod.1.jpg
BTW, here's the recording that goes with the tripod photo, though it was
recorded in the same spot in the middle of the night:
http://wwknapp.home.mindspring.com/SASS_MKH20_tall.mp3
The river frogs are 20-50' away.
The SASS is headspaced, mics are about the same distance apart as our
ears. It can be viewed as a stylized head, a block of foam representing
the contents of our head... It's also a boundary mic and has a pickup
field of about 270 degrees. The original commercial SASS has mics like
the lavs, too much self noise for recording quiet ambiance well. The
MKH-20 were chosen by Lang Eliott after he rejected the DPA mics that a
mod offered by Crown used. He rejected them for the quality of their
self noise, crackled and sputtered. The self noise of the MKH-20 is a
very smooth sound that's does not intrude even if it's audible. The SASS
produces a recording that sounds binaural in headphones but has the
added advantage of sounding good in speakers too.
> One thing I can offer people walking the trail is to give them ambience
> from the noisier parts of the morning or evening choruses when they were=
> probably still in bed or on huddled in front of the fire. Of course
> that will mean me getting out of bed a little earlier and putting on my
> mittens...
>
> The bush is quiet in the daytime and as a result you tend to hear every
> car driving along the road even when that road is a long way away.
I've been in the outback. If you go out far enough in the outback, no
cars driving by, or very few. But, yes, lots of activity at the ends of
the day, particularly around water.
> I guess I'm thinking whatever I can botch together for the interviews -
> even if the stereo is a little polluted - as long as it the voice
> recording is comfortable to listen to. I want to make the recordings
> outdoor because I suspect I will get the best spontaneous answers from
> the artists in the setting where they created their art. Content in
> king here.
>
> And then I can fade in and out of interviews and have breathers in the
> interviews where I can use more accurate captures of ambience.
That should work as it's not really going to be a mix that much at any
point in time. And your audience is not a bunch of critical nature
recordists.
> And then I also have story-telling tracks which will be recorded in the
> studio. With foley's and ambience.
Get someone with a good voice if possible. For the GA frog CD we were
lucky to have someone in DNR, even though he was a bird person and he
had great fun getting all the names right.
> Oh - I thought those little screw holes on the rode were for mounting a
> rail that zeppelin attaches to. I actually haven't seen a single
> affordable wind solution for my budget so the chances are I will have to=
> build something.
I've not seen such a rail solution. And did not know rode made
zeppelins. The screw holes may be to adjust the ring spacing.
Wind protection is way overpriced, getting around it is always a big
problem. I went a long ways down the DIY road, but in the end I'd
accumulated enough bits and pieces off ebay to go that way. At least for
my main group of M/S mics. Still lots of DIY, glad I have a lathe and
milling machine.
> except in a studio with a wooden floor I guess. I will need to buy a
> cheap boom mic for that situation. And try and find a supply of old carp=
et.
A sound studio would be better. If you are stuck with a wood floor
that's going to be fun.
Walt
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