> There are many on this list that could teach about mic positioning
> and maybe they'll share some secrets with us. When I've been out
> with Bernie, Martyn, and Lang Elliott I've learned something new
> about positioning from each one. I've wondered how a workshop
> could teach such a thing. Maybe a smart lecturer could do it but
> it helps me to go out with someone and watch.
>
> For me, I need to be out in the field or forest, and wander around
> listening for the sweet location. I need to hear where the noisy
> creek is, sometimes moving 10 feet to one side dramatically changes
> the sound field. Do I want a rush or a trickle. What is the wind
> doing? Do I want to capture it or avoid it? What about rustling
> reeds or grass, do I need to get away from a patch of noisy
> vegetation on a breezy day or do I want to get right into it? Pine
> needles sing, aspen leaves shimmer, dry reeds bang, and old trees
> creek when played by the wind.
>
> I need to hear what creatures are vocalizing, then I try to compose
> a stereo picture with either a prime player just off center or
> several players balanced to the right and left that can compliment
> each other. If there are many species in the background it helps
> to center these in the distance rather than having them all off to
> the left or right. Is there a woodpecker percussionist? Where do
> I want him, foreground, background, to one side?
>
> If I'm after a single species I'll need to study what's known about
> it from books and the BNA beforehand, then study it in the field,
> watching its habits, singing posts, ect. It takes a bit of a
> naturalist to get this done well. Then I try to anticipate where
> it will perform best, set up the mic, and get back. The mic can't
> be too close or too far back. The loudness of my performer and the
> decision on whether I want reverb all factor in on how close to
> place the mic.
>
>
> I look and listen for reverb possibilities. If the hillside makes
> a natural inward-curved amphitheater I can search for the audio
> center that captures the reflected sounds and amplifies the
> soundscape in a pleasing way. A songbird's song reverberating in a
> small canyon sounds so much different than the same bird out on an
> open slope. To me, a small amount of natural reverb makes the
> recording more pleasing. (Maybe there is some evolutionary reason
> for this, if my ancestors came from a forest, I might find comfort
> in forest-like soundscapes.)
>
>
>
> Oh, and BTW, on a gear note, Lang Elliott was telling me how he
> compared the Head Gordon uses with his SASS setup and a pair of MHK
> 20 mics. Lang found the SASS slightly superior and quieter. I
> would have to defer that discussion to Lang and Gordon.
>
> Kevin
>
>
> Ron wrote:
>
> Gordon's recordings set very high standards. Part of it may be his
> gear (more below) but more so, he works very hard at mic positioning.
> I wish he'd teach some workshops on these techniques.
>
>
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