Since you have probably driven to the location, you can make use of your car for charging battery supplies that become depleted - given you have the correct adaptors to do the job. Without access to AC power, we need to be prepared with plenty of extra and double extra batteries. This is easily done in the studio, but in the field, whether we are considering an outdoor space or an acoustically untreated interior space, there is a degree of unpredictability that must be mitigated. Extraneous sounds that may interfere or overwhelm the specific sound you’re trying to isolate and capture. NoiseĪnd by this topic, I refer to the unwanted sort. Extreme temperatures require a lot more preparation and intimate knowledge of the operating tolerances of your particular equipment. Weather is a factor that must be reckoned with and while forecasts for precipitation can be quite accurate, no one can predict what the wind will be like at the specific place you may find yourself. Outside of the studio environment, you are at the mercy of the elements. This context presents some challenges that need to be addressed and dictates specific equipment requirements. So in this article, I explore field recording which as the name implies, are recordings made in the field, in the world, and not in the controlled environment of the studio. As a producer or composer, it would be a waste to ignore all these vibrating resources. The world is full of sounds and the vast majority are completely license-free.
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