I really enjoyed those samples Walt.
Were they taken with a binnaural setup?
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 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.
And then I also have story-telling tracks which will be recorded in the
studio. With foley's and ambience.
Re the shock mounts thanks for the advice on the thread sizes.
>The ones that came with mine are ok studio mounts, but note that shock
>mount does not provide for wind protection or any way to attach it.
>
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.
>With a mic on a tripod you don't need a lot of shock mounting. If you
>were hand holding you'd need more.
>
>
>
Yeah - I suppose that is right...
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 carpet=
.
Graham
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