1. Fundamentals of Audio Production
Chapter Fourteen:
Field Recording
Fundamentals of Audio Production. Chapter 14

2. Preproduction planning
Field recording requires additional planning as back-ups are not on-hand
Redundancy in equipment, batteries, cables, recording media
Checklists help avoid missed items
Patience is required as field recording nearly always takes longer than expected
Fundamentals of Audio Production. Chapter 14

3. Fundamentals of Audio Production. Chapter 14
Acoustics in the field
The acoustic environment in the field differs greatly from the studio
Eliminating unwanted sounds requires the use of hyper-cardioid microphones
Controlling wind noise requires windscreen accessories for microphones
Fundamentals of Audio Production. Chapter 14

4. Fundamentals of Audio Production. Chapter 14
Windscreens
Fundamentals of Audio Production. Chapter 14

5. Fundamentals of Audio Production. Chapter 14
Recording music
Recordings may be made from pre-fader sends from the FOH console sent to a recording device
Recordings may be assembled from parts of several performances
Click tracks played through monitors keep musicians playing at the same tempo during each performance
Fundamentals of Audio Production. Chapter 14

6. Fundamentals of Audio Production. Chapter 14
Recording music
Remote trucks offer the benefits of the control room on the location
Trucks come in all shapes and sizes
The microphone signals are split at the stage box and sent simultaneously to the remote truck and the FOH console
Fundamentals of Audio Production. Chapter 14

7. Fundamentals of Audio Production. Chapter 14
Remote truck
Fundamentals of Audio Production. Chapter 14

8. Fundamentals of Audio Production. Chapter 14
Stereo recording
Binaural dummy heads provide the most accurate stereo imaging
Microphones are placed inside the head’s “ear canals”
The stereo imaging is heard most effectively when listening through headphones
Fundamentals of Audio Production. Chapter 14

9. Stereo recording microphone set-ups
Pairs of matched microphones may be used to achieve excellent stereo imaging using one the following techniques
X-Y
Blumlein
Mid-side
Near coincident
ORTF
Spaced pair
Decca Tree
Fundamentals of Audio Production. Chapter 14

10. Stereo recording microphone set-ups
Variations on the X-Y technique using cardioid microphones
Fundamentals of Audio Production. Chapter 14

11. Stereo recording microphone set-ups
Blumlein technique using two bi-directional microphones
Fundamentals of Audio Production. Chapter 14

12. Stereo recording microphone set-ups
Mid-side technique using one bi-directional and one cardioid microphone
Fundamentals of Audio Production. Chapter 14

13. Stereo recording microphone set-ups
Near coincident ORTF set-up using two cardioid microphones
Fundamentals of Audio Production. Chapter 14

14. Stereo recording microphone set-ups
Spaced pair technique using 2 cardioid microphones (left) & 2 omni-directional (right)
Fundamentals of Audio Production. Chapter 14

15. Stereo recording microphone set-ups
Decca tree using three omni-directional microphones
Fundamentals of Audio Production. Chapter 14

16. Stereo recording microphone set-ups
Boundary effect microphone
Gap to capture audio
Fundamentals of Audio Production. Chapter 14

17. Stereo recording microphone set-ups
Fundamentals of Audio Production. Chapter 14

18. Parabolic microphones
Parabolic microphones are useful for capturing wildlife sounds – bioacoustics
Parabolic microphones are used for capturing sound effects and field sound at sporting events
Sound is focused by the parabolic dish into a microphone at the dish’s focal point
Fundamentals of Audio Production. Chapter 14

19. Parabolic microphones
Fundamentals of Audio Production. Chapter 14

20. Parabolic microphones
Fundamentals of Audio Production. Chapter 14

21. Location recording for screen
The boom or “fish pole” allows the operator to place the microphone near the talent without being on-camera
Fundamentals of Audio Production. Chapter 14

22. Fundamentals of Audio Production. Chapter 14
Fish poles
Fundamentals of Audio Production. Chapter 14

23. Location recording for screen
For decades, the recorder of choice for film sound was the “Nagra” reel-to-reel recorder.
The recorder could be synchronized with the camera using SMPTE time code.
Digital tape and solid state recorders now offer the same capabilities
Fundamentals of Audio Production. Chapter 14

24. Location recording for screen
Fundamentals of Audio Production. Chapter 14