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on locationOn Location is exactly what it says – all thoseideas for best practice when you’re out and about.It might be a film set, remote Foley and effectssessions, audio journalism, and more...Limited AppealMany portable recorders now come with on-board compression. Compression is often helpful in thefield, however it can create some undesirable effects. Compression can make a voice louder andmore present, but it will also elevate the volume of background noise. It is often unnecessary touse compression while capturing audio in the field, but one useful way to employ compressionis to add hard compression, or limiting, to ensure that your digital recorder does not peak.However, this may introduce “pumping” artefacts on your recorded audio if it is constantlyemploying gain reduction.Nicely Does ItSean Karpowicz, Product Specialist, GCI-Technologies (Gemini, Cortex, iKey)Look ForwardGood Spectral Editing software cansave your bacon, but five minutesresearch may make you realise you’resetting up an interview next to abuilding site! Naturally this waslearned the hard way…Alex Theakston, Marketing Co-ordinator,Source DistributionBacking TrackWhen you get one chance and have no ideahow loud something might be, CYA by makingan alternative recording path, maybe 20dBlower than your main path. You may be settingthe mic pad, or the preamp level, or the recordlevel lower, depending upon the situation.When that crazy peak comes and completelysplatters your track, chances are your -20 dBtrack will save you in post.David Mathew, Audio PrecisionCheck Your Location andChange What You CanWhether you’re working on a blockbuster or for RadioNorwich, check the environment before you startrecording. It’s partly about the acoustics of the spotyou’re in: rooms with bare walls create a lot of reverband echo while rooms with large windows also letin sound from outside. But it’s also about what ismaking noise about you, even if it’s inaudible to thehuman ear. Fridges hum and can also create an EM-type noise that the mic will pick upand pass to the recorder. Strip lights do the same. Do a sound check first and if necessary(and ask politely) switch things off.Unless you’re in a cryo lab, most people won’t mind their fridge being off for a few minutes.In a perfect world, every recording would be done in a small room lined with bookshelvesto soak up the reverb. And no windows. Or fridges.Jerry Ibbotson, Media Mill and Audio Media ContributorBe human. By simply chatting to people you canfind things go a lot more smoothly. And if, like me,you often recording ‘things’ rather than people, youmight find someone who’s got a car/bike/budge thatmakes a great sound and which he or she has alwayswanted to have recorded for posterity.Jerry Ibbotson, Media Mill and Audio Media ContributorThe Only Rule Is…There are no hard and fast rules – be aware thatwhat works for this script, today, with this Director,on this location, may well be completely irrelevanttomorrow, somewhere else, with a different Director,with a different script.Simon BIshop, Production Mixer/Recordist, Audio Media Feb 2010Never ForgetThe mantra of any location soundrecorder should be to always, always,always…bring spare batteries.Alex Theakston, Marketing Co-ordinator,Source DistributionWhat An Atmos…Shoot a buzz track. Try and shoot a buzztrack, atmos, or room tone, in the same location as you shot the dialogue for the scene, as soonas possible after, or even whilst you are shooting, the sync shots for the scene. Buzztrack is like audio glue – it allows the post productionteam to glue together all sorts of location misdemeanours, and to ‘smooth over’ all sorts of otherwise jarring edits and transitions.Simon Bishop, Production Mixer/Recordist, Audio Media Feb 201034AUDIO MEDIA AUGUST 2011
on locationTECHNOLOGY FOCUSShare The LoveTake food. Not just to stop yourstomach rumbling but as a meansto bartering. It’s amazing how muchextra productivity you can get from arolling-road engineer by the simpleapplication of a Mars bar.Jerry Ibbotson, Media Mill and Audio MediaContributorBody PoppingFor wireless microphone placement on actors, rememberto keep the transmitter antennas away from directcontact with skin. Use large shrink tubing, plasticaquarium tubing, or a foam pad to insulate theantenna from skin. Mic placement can be tricky inorder to make the microphone invisible, and avoidwind noise and clothing rustle. Keep a well-stocked kitof surgical tape, wind abatement materials, sharpsmall scissors, and microphone mounting hardware.Don’t forget to practice and experiment with lav micplacement during your down time. With any wirelessmicrophone use, frequency coordination is key – havea plan A, B, and C ready to go.Karl Winkler, LectrosonicsCalrec, high-end broadcast console manufactuer, recently introduced itsHydra2 Organizer (H2O), a brand new management system for its Hydra2network router. The system allows the user to control the Hydra2 networkindependently from any console control surface. Users can set up routes andconfigure access rights to all desks on a given network, as well as label I/O boxes andports for ease of identification. It also offers the ability to arrange ports into foldersmaking them quicker and easier to locate.The new software is browser based, allowing network access from a laptop or PC,and is compatible with Windows, Linux, or OSX.H2O is especially advantageousfor Calrec’s clients who own large,multiple-studio complexes whichmay be rented to rival companiesat different times. Using accessrights it is now possible to renderstudios completely invisible tousers in other studios rented toclient A and vice versa. This gives the customer the flexibility to utilise their networkin a manner they could not previously using a single operating system.www.calrec.comTransformers 4There is nothing like a transformer for isolation, and getting rid of some nasty ground-loopbuzz. You can even transformer-isolate AES3 digital with the right transformer. Carry several,in whatever configurations and impedances are necessary. Buy quality, such as Jensens, withFaraday shields. Put them in boxes with ground-lift switches.David Mathew, Audio PrecisionMic AllMy technique outside is to putradio mics on everyone.Everyone who is likely to speak,even sometimes if they don’tspeak...I put radio mics on andtry and boom what I can.If you can get the boom in, great.If you can’t, use the radio, and doa blend of the two.Martin Beresford, Production Sound Mixer,SubmarineAudio Media, April 2011AUDIO MEDIA AUGUST 201135
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