One problem I've found with the "machine gun" approach is that I have to li=
sten to it all afterwards to pick out the bits I want, probably several tim=
es over. Once I realised how long this takes, I decided to limit the length=
of my recordings where possible. The PCM M10's prerecord buffer saves me a=
lot of editing time by letting me wait for a bird to call before starting =
recording.
Still, it's better to have too much than too little.
Peter Shute
From: =
.com] On Behalf Of Volker Widmann
Sent: Tuesday, 24 January 2012 6:18 AM
To:
Subject: [Nature Recordists] Re: Nature recordists group
Hi Scott,
even though the term itself sounds rather martial, I think that the "machin=
e gun technique" is one essentially viable approach to nature recording. It=
leads to long time recordings of soundscapes which are valuable by themsel=
ves. If you serendipitously find some great single species recording in you=
r hours of soundscapes that's even better.
We live in an enormously lucky time where memory space is getting cheaper a=
nd cheaper and possible recording time is increasing.
Some of you may remember the pre-digital times (pre 1980s), when all you ha=
d was reel to reel tape with a running time of 20 min at the best quality a=
nd recorders with ridiculous power consumption.
So have fun "machine gunning"!
Volker
> <<My main technique is to set a rig and wait for the wildlife to come
> close enough, but I get a lot of garbage that way. Photographers call
> it the "polyphoto method">>
>
> I call it the machine gun technique. If you fire enough bullets you're
> likely going to hit something. In cinema this is the shooting ratio, the
> amount of film shot compared to what makes the final cut. The truth is th=
at many
> of the people we think of as great photographers, great film makers, grea=
t
> composers, etc, don't necessarily start out with high ratios of great
> material vs junk. But what they really are is great editors, so the audie=
nce
> only gets to see the great results.
>
> Scott Fraser
>
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