How Recording Tone Helps Field Recordings - Cityscape

I’ve been chipping away at revising all my sound effect books. I plan to release updated editions later this year (anyone who has purchased digital copies will receive updates, free of charge).

Anyway, while reviewing Field Recording: From Research to Wrap, I realized I had not mentioned one small but important step when beginning your field recording session: recording room tone.

Have you ever captured a noisy sound effect and wondered what to do with it? Have you found yourself wrestling for hours with de-noising plug-ins? Wondering how you can publish cleaner sound clips?

Today’s post was designed to introduce beginners to this vital – but often neglected – field recording step. It will explain why recording tone improves your field recordings, and helps you master sound fx clips.

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Field Recording Gear in Sunlight 2

Today’s post is the second post in a short series about pro audio career advice. The last article explored general pro sound tips and tricks.

Today’s post answers two of the more common questions I see in my email inbox:

How do I become a field recordist and share sound libraries on the Web?

How do I get and established selling sound, and what’s the most effective way to break into that world?

Do you want to record sound effects beyond the studio? Are you eager to share your field recordings with other sound pros? Today’s post includes suggestions to help you build a field recording career sharing sound on the Web.

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Introducing a New Sound Effects Podcast

Introducing a New Sound Effects Podcast Hero 300x

A few years ago I posted a Q & A with Asbjoern Andersen, owner of the independent sound library sharing website, A Sound Effect.

At that time (2013!), his website had just launched. A Sound Effect has changed quite a bit since then. They now sell sound libraries directly (including some of mine). Just today they added a new feature: a podcast devoted entirely to independent sound effects libraries.

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Gain Control

How do you begin field recording? What’s the best way to break into pro sound? Can you earn enough cash to survive selling sound effect libraries on the Web?

I always look forward to receiving email from readers. Recently, I’ve received a handful of similar messages:

How can I work in pro sound? How do I become a field recordist and share sound libraries on the Web?

They are popular questions. I always like seeing them in my inbox. Why? Every message has interesting variations to the question. Some people want to know about post sound. Others are interested in radio production. A few are specifically interested in field recording and sharing sound fx bundles.

Today’s post begins a two-part series of reference articles with career advice for beginners. It shares tips and tricks that you can add to your toolbox to help you find rewarding, paying work in pro audio.

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“Visual Microphones” Recreate Missing Audio

Hitchcock Colorized by Sanna Dullaway

In the 1970s, Wilson Markle pioneered a new film enhancement process. To the delight of many film buffs, Markle showed that it was possible to add colour to black and white films. While his initial efforts resulted in weak colours, the concept of film colourization took hold. Results improved in the 1980s and have since led to colourization of many classic films such as It’s a Wonderful Life, King Kong and others.

Is it possible to do the same for audio?
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Law Books

Field recording is a unique craft. It is practiced under very specific circumstances: field recording captures real sound effects beyond the controlled environment of a sound studio.

That makes field recording tricky to learn. I have mentioned in the past that some schools touch upon field recording in film and recording courses (article one, article two), as do actual field recording workshops. Generally, though, field recording is learned via exploration or apprenticeship. A dedicated, academic method of learning field recording has yet to emerge.

Of course, there’s a more immediate way to learn field recording: by reading. I’ve been collecting links to field recording books for some time. So, today’s article presents a resource for those of you that want to sit back and flip through a good book about the craft of field recording.

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Best of 2014 Hero

This is the fourth retrospective of the website’s posts. Browse the previous “best of” posts: 2011, 2012, and 2013.

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Compare Field Recordings from the Sony D100, D50, and Neumann 191

Sony PCM-D50 and D100 Small

Lately I’ve been Tweeting quite a bit about the Sony PCM-D100 portable audio recorder. Why? I’ve been collecting tandem field recordings from both the D100 and its older brother, the D50. My goal is to compare the sound quality between them (as well as other features) for an upcoming D100 review.

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Best of 2013 Hero

This post is the third in a series of my favourite yearly posts.

View the “best of” posts from 2011, and 2012.

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