In my last post I wrote about recording IndyCar and Nascar race car sound effects for airbornesound.com. Visit there to read the background of the field recording shoot. You can hear some of the samples of Ferrari and Indy Lights race car sound clips.
I recorded those cars last summer. Since then I've thought a lot about that session. The shoot was characterized by frustrating problems I couldn't change such as music, aircraft, PA and more. It made me think about field recording subjects that are mostly out of your control.
It's important to capture richness and nuance into your recordings. That's what gives them character, impact and longevity. As I wrote earlier, I believe a good part of that nuance comes from the recordist themselves.
I wondered how a field recordist could bring richness and depth to sound effects that they actually can't directly influence at all.
So, using the race as an example, I'll write this week about what you can and cannot control in a 'passive session.'
I'll also share some ideas on what you can do in these situations, and how to approach these sessions.
The article got a bit long, so I cut it in two: next week I'll write about how I applied these ideas specifically to the Indy race.
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