>Depending on the delay time, it's possible that this won't sound much
>like "reverb". Rather, it will be very "phasey". You'd need to
>increase the delay time to avoid the phasiness, so if you experiment
>you'll probably get a useful result, given that you're close-micing
>the sources.
>
>
>
I'm glad you think it's at least possible. I will test the method
before I need to get it right on the day. I plan to have enough gear to
fallback on other strategies if it isn't working.
>>
>>- bearing in mind that each voice will be loud only on its own recording
>>station and the ambience will be loud only on the ambient station.
>
>Maybe the ambience will not behave as you anticipate. I'm not
>familiar with the acoustic ecology near Northcliffe, but I know the
>Australian bush can often be fairly quiet.
>
Yes - absolutely true. I want the gear to start capturing ambience now
so I have I range of ambient environments to use. Even if I don't
overlay ambience captured at a different time I might fade in and fade
out feature effects (such as a bunch of noisy black cockatoos) between
the answers. Also I am planning for the story-telling tracks to be
"studio" recorded and I will be completely free to mix in ambience with
those.
>Also, the human presence
>of the interview could scare most birds away from the area. And /
>or you may have wind in the trees to contend with. You might need to
>consider recording an appropriately active ambience at another time
>to mix with the interview. Yes, this is distorting "reality", but no
>one knows this except you (and perhaps the interviewee).
>
>
>
My thought wasn't so much of truth vs distortion - but that the ambience
from the lav mics added on to ambience recorded at another time might
just add up to noise. Whereas with simulutaneous recording the ambience
would (hopefully) be reinforcing. You know how animals call respond to
each other - even between the species - you get that symphony. I guess
I am worried that the louder bird call and cricket cries coming out on
the lavaliers will fall out of natural harmony with ambience from the
stereo set-up picked up at a different time.
>>
>>Allen and Walter I realise why you're naturally thinking to record the
>>voices in a studio and thereby have three pure sound sources to mix.
>>That would be the precision engineers way an ensure a reliable result.
>>But do you think it will be possible to be a bit more of a chaos
>>magician and make the outdoor/simultaneous recording setup work? That
>>has a type of purity too - although not of sound sources.
>
>Purity is one thing. Effective communication with your audience may
>be another.
>
Oh - I wasn't proposing to be totally literal. Although I did like the
idea of simulaneity and of the sounds from each the tracks reinforcing
each other somewhat. I guess the "purity" I had in mind (and I resile
from such a strong term now) also reflected my view of the interviewing
situation - being able to wander around and through the (larger)
sculpture/s might encourage more interesting thought from the artist and
myself. Rather than being talking heads. And then that encouraging a
more creative approach to the post-process rather than question and
answer. It needs to sound more engaging than a simple journalistic
interview - which to me might consitute the "audio-tour" which I would
be dreading.
> What you're proposing might work beautifully. But it
>might be stressful playing the role of interviewer and recordist
>simultaneously. (By the way, I hope you have plenty of time to get
>used to the new equipment beforehand.)
>
I'll remember that and keep thinking about the idea of having an
assistant and possibly trying to do it binnaural. The need to
experiment is why I'm rushing around trying to get it all together now. =
I have a few months up my sleeve before I have to be on the ball
(unfortunately largely taken up with web-design). And if in my months
of experimenting I end up with some some forest-foley effects and decent
ambient captures that will be a good thing. The post-process is going
to have to happen really quickly. The attraction is due to open in
November this year and the audiotours need to be ready for le-grand opening=
.
>It would be far simpler to
>edit out the questions. That way you don't have to worry about your
>"performance" as interviewer, and you can concentrate on what the
>interviewee is saying, as well as how he or she is saying it.
>
Yes - let the reply speak for itself - hopefully the artists are good
talkers.
>You
>may need to guide your interviewee in how to best express themself.
>Also, your audience might get more out of an interview if they feel
>that they are being addressed directly, without the presence of an
>intermediary. On the other hand, if all goes well, your suggested
>approach could certainly work well.
>
>John
>
>
I will keep working on it - first step is to finish my gear list so I
can get out of the world of theory into the world of experimentation.
thanks for the input John
Graham
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