Imagine you’re beginning your first firearms field recording session. You want to record the gun shot sound effects from every angle. So, you’ve arranged a handful of microphones nearby. You’ve placed others in the distance. Cables snake across the field from a half dozen microphones to… where?
Are they connected to a single recorder? Or, do you have many units spread across the field instead?
What’s best? How do you capture multiple, simultaneous channels at once? How do you keep every track synchronized? How do you ensure all your gunshots are in alignment when mastering them, later? Why is this important for field recordists?
Today’s post is the first of a two-part series about field recordings and synchronization.
Multi-track recording and field recording sync may seem like a basic issue that is second nature to most recordists. It may seem obvious. What is less obvious is how this affects the later stages of a sound clip’s arc, when mastering sound effects.
In reality, sound fx sync is a deceptively important issue that is easily overlooked in the field, yet has a huge impact on editing sound clips. So, the two articles explore the importance of tandem field recordings on location, and in the edit suite:
- How to add sync slates to your field recordings.
- How to synchronize field recordings when mastering clips, afterwards.
The first post will begin with the basics. It will introduce the role channel selection plays when field recording, as well as the importance of sync slating. That will prepare you for next week’s article, where I’ll share a quick tip for ensuring sync when mastering in Pro Tools.