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, 03 May 2019 / Published in CINEMA SOUND, FIELD RECORDING

This is a start point.
I recorded quiet Harbor while waiting for a ship arrived.

 

This is my set for the trip.
I used ortf set for almost every spots, and wide set and omnis were used for opened beaches & opened spaces and sometimes xy to get close water movements.
With these mics fitting in one hiking zack, I can cover lots of perspectives.
Thanks to Tim Prebble

 

This view is from the first beach on the first day.
No streets are nearby, and fewer people live on this small island, so no traffics, fewer obstructions by people.
I stayed there close to an hour to get sounds in many perspectives, but no one came across.
Oshima island is a great place for ocean recording.

 

Start to see many kinds of cliffs from here.
This morning was a little windy, so aggressive waves sounded like onboard ships.

 

Another cliff, but calm.

 

Another cliff, but hitting hard by waves.
Oshima Island is a small island and has an active volcano, so there are many unique cliffs made by volcanic rocks.
Because of its unique landform, waves hit hard and make a boomy sound.

 

Fishing harbor in Oshima island.

 

They just came back from early morning fishing, so industrial sounds were there.

 

Rocky shore from a hill.
When I was looking for recording spot with my big backpack on, one old fisherman asked me the results of the day, so I replied to him “so far so good but it was little windy this morning.” I was not fishing, but my answer was not too far from everyday fisherman’s conversation.
I often think fishing has something in common as we both try to capture something by not making human sounds. We happened to share the same places, and sometimes we race each other to get the best same spots.
One is after great sounds while the other is after fresh fish.

Along with recordings from other islands, all together SHORES island edition sound library will be available at antinodedesign.com

My picture also can be found at Avosound run by
Swiss sound designer and field recordist Guido Helbling.

Thursday, 28 February 2019 / Published in CINEMA SOUND, FIELD RECORDING, NEWS

Coming soon on antinodedesign.com

Tuesday, 22 January 2019 / Published in CINEMA SOUND, FIELD RECORDING

These are places where I visited during Tokyo recordings.

Tuesday, 01 January 2019 / Published in CINEMA SOUND

Thank you very much for supporting us over the last year.
Your support gives us the best motivation to make great sound libraries at Anti-Node Design.

We will continue put much effort into providing the best quality sound effects that we can.
Wishing everyone good health, happiness and great sound lives in 2019.

Hide Aoki
antinodedesign.com