Sunday, 15 September 2019 / Published in CINEMA SOUND, FIELD RECORDING

Rain sound library is available at antinodedesign.com
[email protected] 96kHz with ortf, spaced omni, XY and carefully edited.

These are some of photos I took while recording RAIN.

This place has less noise and is my favorite place.
I had been thinking a long time that I must record rain under this crib, and an opportunity suddenly came! It’s hard to tell from photos, but it was raining pretty hard. I used ortf set, omni set, and nos set this time. Nos set was very suitable for the sound of the rain falling on close leaves.

We had longer rainy season this year in Japan and I was pretty happy about it.
While people hesitated to go walk under the rain, I was recordings rain happily, at least during the time…
It was like “someone’s loss is someone’s gain”. yey!

I placed omni mic in two places and ortf set and xy set in the center inside a car to capture rain from an interior.
xy in the photo.

Rain is very unpredictable these days, so I had always prepared gears on my side for sudden rain during the period. When I thought it started raining, it suddenly stopped and vice versa, and suddenly thunders!!…
Other than seem on these photos, I found many other interesting places and sounds especially for the rain recordings, and Overall, it was fun recordings as always!

Back to recordings now!
Chao

Thursday, 04 July 2019 / Published in H sight

NEW ZOOM F6
The Zoom F6 features both 32-bit float recording and dual AD converters which very interesting!
They are growing rapidly in the field recording & location sound industries these days.
We are really proud of zoom in Japan!!

More detail on ZOOM WEBSITE

Recording Media:
SD cards, SDHC cards, SDXC cards (that conform to standards)

INPUTS
Inputs 1–6:
Connectors XLR jack (pin 2 hot)

Input (mic):
Input gain +12 dB – +75 dB
Input impedance 3 kΩ or more
Maximum input level +4 dBu

Input (line):
Input gain −8 dB – +55 dB
Input impedance 5 kΩ or more
Maximum input level +24 dBu

Phantom power:
+24/+48V 10mA maximum for each channel

Equivalent input noise:
−127 dBu or less (A-weighted, +75 dB input gain, 150 Ω input)

OUTPUTS
Line output:
Connectors 3.5 mm stereo mini unbalanced output
Output impedance 100 Ω or less
Reference output level –10 dBV, 1 kHz, 10 kΩ load
Maximum output level +10 dBV, 1 kHz, 10 kΩ load
D/A dynamic range 95 dB typ (−60dBFS input, A-weighted)

Headphone output:
Connector 3.5 mm stereo mini unbalanced output
Output impedance 15 Ω or less
Maximum output level 100 mW + 100 mW (32Ω load)
D/A dynamic range 108 dB typ (−60dBFS input, A-weighted)

RECORDING FORMATS
When WAV selected:
Supported formats:
44.1/47.952/48/48.048/88.2/96/192 kHz, 16/24-bit/32-bit float,
mono/stereo/2-8ch poly, BWF/iXML

Maximum simultaneous recording tracks:
14 (6 inputs x 2 (Linear and Floating) + LR mix)
6 (6 inputs (Linear or Floating) at Float(32bit) Mode, 192 kHz)

When MP3 selected:
Supported formats:
128/192/320 kbps, 44.1/48 kHz, ID3v1 tags

Maximum simultaneous recording tracks:
2

RECORDING TIME
Using a 32 GB card:
30:46:00 (48 kHz/24-bit stereo WAV)
7:41:00 (192 kHz/24-bit stereo WAV)

TIMECODE
Connectors:
3.5 mm stereo mini (Tip: IN, Ring: OUT)

Modes:
Off, Int Free Run, Int Record Run, Int RTC Run, Ext, Ext Auto Rec
(audio clock can be synchronized to timecode)

Frame rates:
23.976 ND, 24 ND, 25 ND, 29.97 ND, 29.97 D, 30 ND, 30 D

Precision:
±0.2 ppm

Allowed input level:
0.2 – 5.0 Vpp

Allowed input impedance:
4.6 kΩ

Output level:
3.3 Vpp

Output impedance:
50 Ω or less

POWER
Options:
AC adapter : DC 5V (supports USB bus power)
Sony® L-Series battery
4 AA batteries (alkaline, lithium or rechargeable NiMH batteries)

Continuous recording time:
48 kHz/16-bit 2ch recording to SD card (LINE OUT off, TIMECODE off, LED/LCD Brightness 5, headphones into 32Ω load, PHANTOM off):
Alkaline batteries 7.5 hours or more
NiMH batteries
(2450 mAh)
10.5 hours or more
Lithium batteries 16.5 hours or more

48 kHz/24-bit 6ch recording to SD card (LINE OUT off, TIMECODE off, LED/LCD Brightness 5, headphones into 32Ω load, PHANTOM off):
Alkaline batteries 5.0 hours or more
NiMH batteries
(2450 mAh)
7.0 hours or more
Lithium batteries 10.5 hours or more

192 kHz/24-bit 6ch recording to SD card (LINE OUT on, TIME CODE set to Int Free Run, LED/LCD Brightness 60, headphones into 32Ω load, PHANTOM at 48 V):
Alkaline batteries 0.5 hours or more
NiMH batteries (2450
mAh)
1.5 hours or more
Lithium batteries 3.5 hours or more

Display:
1.54″ full-color LCD (240 × 240)

USB
Mass storage operation:
Class USB 2.0 High Speed

Multitrack audio interface operation (driver required for Windows, no driver required for MacOS):
Class USB 2.0 High Speed
Specifications Sampling rate 44.1/48/88.2/96 kHz
Bit Rate 16/24-bit
Channels 6 in/4 out

Stereo mix audio interface operation (no driver required):
Class USB 2.0 Full Speed
Specifications Sampling rate 44.1/48 kHz
Bit Rate 16-bit
Channels 2 in/2 out
Note: iOS device audio interface operation supported (stereo mode only)

AIF with Rec operation (driver required for Windows, no driver required for MacOS):
Class USB 2.0 High Speed
Specifications Sampling rate 44.1/48 kHz
Bit Rate 16/24-bit
Channels 8 in/4 out

Power consumption:
10 W

External dimensions:
100 mm (W) x 119.8 mm (D) x 62.9 mm (H)

Weight:
520 g

Thursday, 16 May 2019 / Published in CINEMA SOUND, FIELD RECORDING

English Ver. comes after Japanese.
Excuse my Japaniglish always tho;)

第二章
ロケーション。

 

  • 現場の音は刻々と変化しています。
    収録時にどのような音になるかを予知するのは不可能に近いです。
    可能な限り余裕を持ったスケジュールを立てましょう。
    そして予備のバッテリーを忘れないように。
    数時間に及ぶハイキング後に山頂からバッテリーを取りに帰る事になったらせっかくの瞬間を逃してしまいます。

 

  • 場所によっては許可が必要な場合もありますが、移動途中の予期せぬ場所で良い音に出会う事もあります。そんな時はとてもラッキーな気分になります。

 

  • 環境音収録は秘境=収録に適している場所が多いです。
    また地形によって遠音が変化する事にも注意しましょう。
    例えば、山頂より谷間の方が木や山が壁になり遠音を遮断する傾向にあります。
    これは都会のビル群に関しても同じ事が言えます。
    ビルの屋上ではバランスの取れた雑踏音を探す事が出来、
    路面では車の走行音や歩行者の音、またビルの谷間は他の音に邪魔されない静かな場所が多くあり、収録結果として少し狭いステレオイメージになりすが、都会で少し静かな環境音を録る事も可能です。

 

  • 実際の収録と同時にどのような音が必要か常に判断していきましょう。
    同じ音が沢山あっても面白いライブラリーにはなりません。
    コツは常に先を見て、収録結果を聞いて、次の行動する事です。
    またこれは特に環境音収録に対してのコツですが、地元の人に聞く事です。
    もし綺麗な波音を求めてるのであれば、地元の漁師さんに聞いて見ましょう。
    少し奇妙に思われるかも知れませんが意外とこちらの探している物(音とは分からないかもしれまんが)を理解して貰えます。
    魚釣りと音録りは似つかない両者ですが、音を立てずにじっと獲物を待つ辺りは案外と似ているのかもしれません。
    また山の事はフォーレストレンジャーが熟知しています。
    登山者や旅行者のいない特別な場所を幾つか知っている場合があります。

 

  • そして動作音の収録でも、出来るだけ静かな場所を見つけましょう。
    フォーレイスタジオでの収録が最良ですが、屋内では収録しづらい音に関しては屋外での一番静かな場所を探す必要があります。
    例えば花火音は秩父の静かな場所と時期を探して収録しました。
    編集時にはノイズ除去プラグインを使う事もありますが、メインの音に影響してしまう場合もあります。
    また、プラグインを使用すると時にサウンドが薄くなり不自然になりがちです。
    Anti-Node Designサウンドライブラリーは可能な限り後処理を必要としない収録を心がけています。
    その為にはロケーション選びはとても大切です。
    また、収録実験を繰り返しおこない独自の音を作成することも重要です。
    環境音と動作音共に収録結果と使用条件を予測するのは容易ではない場合があります。
    しかし、それもフィールドレコーディングの素晴らしさと面白さの一つかと思います。

 

次回は具体的に機材の選び方と準備について説明します。
ちなみにあくまでも自分の経験内での知識なので、ご意見ありましたら是非コメントください。

音について考え始めると、私たちの周りには面白い素材がたくさんあることに気づくかもしれません!

 

 

ch.2
Locations

  • The sound of the scene is changing every moment, so it is difficult to predict. That is almost impossible.
    Make your schedule as flexible as possible.
    And DO NOT FORGET spare batteries.
    You will miss that moment if you need to back to pick up your battery especially After a few hours of hiking.

 

  • You may need to get permission in advance depending on the location, but you may find a well balanced ambient sound in an unexpected place while you are moving. I feel very lucky if I find such a place.

 

  • The location of the natural environment recording is usually a secluded place = a superior place for recordings.
    And be aware that the distant sound changes depending on the terrain.
    For example, trees and mountains tend to become wall when in the valley whereas, at the top of the mountain, nothing blocks distant sounds.
    The same is true in urban buildings.
    On the rooftop of a building, you can find balanced distant traffic sound. Whereas close-car-bys and pedestrians are on the road. And there are also many quiet places in between buildings that are not disturbed by other sounds, but the stereo image becomes little narrow in the results.

 

  • You always need to judge what kind of sound you want.
    A library with several identical sounds is not an interesting one.
    The trick is to always look ahead, listen to the results, and act.
    And, this is especially for environmental recording but ask local people.
    If you are looking for a beautiful sound of waves, ask a local fisherman. It may seem a little strange, but they tend to, in my experience, understand what you are looking for even not knowing our real purpose.
    Fishing and sound recording are two different things, but if you think about waiting for prey without making a sound, there may be some similarities.
    And when it comes to the Mountains, The forest ranger.
    They may know one or two special places where no climbers or tourists go.

 

  • Also, find a place as quiet as possible for recording the motion sounds(foley sounds, hard effects).
    It’s best to record in the Foley Studio, but you need to find the quietest place for sounds that are difficult to record indoors.
    For example, I searched quiet places and periods in Chichibu to record fireworks.
    Of course, there is noise removal plug-in when editing, but it will affect the main sound if you don’t use it well.
    And sound tend to be thinner and unnatural when using plugins sometimes.
    Anti-Node Design sound library tries to capture material that requires as little post-processing as possible.
    For that, choosing a location is very important.
    And it’s also important to experiment and create unique sounds.
    I was once asked by a director to make a unique siren which no one heard, so eventually, I used my cat’s voice and low rumble from korg ms 20 mini and manipulated with the envy from the cargo cult.
    The director was happy, and when he asked how the idea came out, my answer was “from experiments.”
    Like ambient sound, it’s not easy, sometimes, to predict the results and how it will be used.
    But, That is one of the beauties of field recordings in my opinion.

 

On the next, I will explain how to choose and prepare gears.
This blog is only knowledge within my own experience, so please let me know if you have any comments.

When you start to think about sound, you may realize so many interesting materials around us!
Thank you for reading my Japaniglish!
stay tuned!

Monday, 13 May 2019 / Published in CINEMA SOUND, FIELD RECORDING

English Ver. comes after Japanese.
Excuse my Japaniglish always tho;)

皆さんの中で私達がどのようにフィールドレコーディングの準備や収録をしてるか気になってる方もいるのではないでしょうか。
これから日々のフィールドレコーディングルーティンを順を追って説明したいと思います。
今回は第一章です。

  • 日頃から日常の音に耳を傾けましょう。
    私達の生活環境の中には沢山の音が存在します。
    まずはその音に耳を傾けそれに付随する音達がどれくらいあるのか想像してみましょう。
    シンプルですが考えてみると意外と色々な音色が想像出来ます。
    またマイクを通して聞くとさらに面白い音になる素材も多数存在します。
    コンタクトマイクを通して冷蔵庫内部の音?!を聞いた事はありますでしょうか?
    想像してる以上に機械的でSci-Fiぽい音だったりします。
  • そして興味深い音を発見したら忘れないようメモを取るまたハンディーで音を記録しましょう。
    普段生活している中で忘れてしまう事もあります。後であれ?って何だっけ?ってならないように。
  • 次に興味を持った音のレコーディングリストを作成します。
    後のサウンドデザイン時に出来るだけ多くの選択が出来るよう備えましょう。
    素材ごとに異なる視点からの音があるととても便利です。

 

今回はシンプルだけどとても重要な事を書きました。
次回はレコーディングロケーションの選び方と探し方をついて説明します。
ちなみにあくまでも自分の経験内での知識なので、ご意見ありましたら是非コメントください。

音について考え始めると、私たちの周りには面白い素材がたくさんあることに気づくかもしれません!

Some of you may be wondering how we prepare and record.
Step by step, I would like to explain our daily field recording routine.
This is chapter one.

  • This is the first step in field recording.
    Listening to everyday sounds.
    There are many sounds in our living environment.
    First, listen to the sound, and imagine how many sounds fall into this one category.
    YES It’s that simple, but when you start to think about it, you’ll notice a lot of sounds coming into your imagination.
    There are also a lot of materials that sound even more interesting when you listen through a microphone.
    Have you ever heard the sound in a refrigerator through a contact microphone? It sounds more mechanical and sci-fi than you would probably expect.
  • And when you find an interesting sound, take notes so you don’t forget it, or record the sound with your handy.
    We sometimes forget things in our daily lives.
    It seems easy, but later Don’t let get “What was that and where??” to you.
  • Next, create a recording list of the sounds you are interested in.
    Be prepared to make as many options as possible for later sound design.
    It is always very convenient to have sounds from different viewpoints for each material.

 

OK, I wrote, this time, a simple basic thing yet very important.
On the next, I will explain how to choose and find recording locations.
By the way, it is only knowledge within my own experience, so please let me know if you have any comments.

When you start to think about sound, you may realize so many interesting materials around us!
Thank you for reading my Japaniglish!
stay tuned!

Friday, 10 May 2019 / Published in H sight

MAKING WAVES: The Art of Cinematic Sound
Most of the great sound designers out there are putting their creative imagination to make great soundtracks of cinema.
Gary Rydstrom is one of them. He mentioned what he used for T1000 transformation on T2.
Usually, One of the tasks for sound design is to make a sound as natural as possible.
Because of that, their creativeness turns into unnoticeable and invisible, but always great artwork sits behind great movies.
It is not just about sound, but motion pictures are a collection of every art forms.

Screening in Japan anytime soon?
I really want to see this documentary!

Tuesday, 07 May 2019 / Published in H sight

Electribe ER-1 firmware Upgrade by Electribe Shaman
Unofficial but interesting!

TOP