Here=92s a segment recorded at the N. Sea, Aldeburgh, in the UK. Recorder L=
S10. Pre-amp: SD MixPre. Mics: DPA 4060s mounted on my shoulder. A decent d=
escription of wave recording can also be found in my new book, Wild Soundsc=
apes: Discovering the Voice of the Natural World, Pgs 172-174. Yale Univ Pr=
ess, 2016.
https://soundcloud.com/wildsanctuary/n-sea-waves-uk <https://soundcloud.com=
/wildsanctuary/n-sea-waves-uk>
Bernie
Wild Sanctuary
POB 536
Glen Ellen, CA 95442
707-938-5388
http://www.wildsanctuary.com <http://www.wildsanctuary.com/>
SKYPE: WildSanctuary
FaceBook: http://www.facebook.com/BernieKrauseAuthor <http://www.facebook.c=
om/BernieKrauseAuthor>
TED Global talk: https://www.ted.com/talks/bernie_krause_the_voice_of_the_n=
atural_world?language=3Den <https://www.ted.com/talks/bernie_krause_the_voi=
ce_of_the_natural_world?language=3Den>
> On Mar 24, 2017, at 5:49 PM, <=
ii.rr.com> [naturerecordists] < <nat=
>> wrote:
>
>
>
> Gordon Hempton's web site and book are really good references for recordi=
ng water. Here's a link to the part of his web page discussing waves:
>
> http://blog.quietplanet.com/how-to-record-waves/ <http://blog.quietplanet=
.com/how-to-record-waves/>
>
> It's possible to record big wave action without all the hissy top-end, bu=
t it requires finding just the right beach. If there's an offshore reef, or=
if the beach is relatively shallow, waves tend to break farther out or bre=
ak far out and then closer in. Either way the distant waves or multi-break =
waves create a lot of background hiss.
>
> All of which would be beside the point, except that you can control that =
hiss to some degree with your microphone setup. An SASS creates a wonderful=
sense of space, but I haven't found a way to keep it from picking up dista=
nt waves except by choosing a beach that only has a close break. You can el=
iminate some of the background hiss of distant waves by using a more direct=
ional microphone and pointing it down, but you lose some of the sense of sp=
ace when you do. But I'm getting off topic.
>
> To go back to the question you asked about stereo enhancing what you like=
, Ross's recording is a really good example of what an SASS does with wave =
action. (I love pebble beaches, Ross, and that was beautiful to listen to.)=
Last year or so I recorded using a similar setup (SASS with single capsule=
s) at a sand beach that had an uneven break - waves breaking left to right,=
right to left, etc. I think the recording loses a lot when listened to in =
mono. (Good point about just dropping one of the channels, Vicki!)
>
> https://soundcloud.com/tnbenedict/kua-bay-summer-waves <https://soundclou=
d.com/tnbenedict/kua-bay-summer-waves>
>
> In terms of portability, an SASS is going to be bigger than a single X-Y =
or M-S microphone. It comes down to a question of which stereo mic setup gi=
ves you the soundscape you're after, and what compromises you're willing to=
make to get the sound you want.
>
> Tom
>
>
>
|